If ever a Shakespeare play needed to be taken firmly in hand, it's Cymbeline. This Bagpuss of an ancient Britain set piece, with its away-with-the-fairies feel and torrent of unlikely climactic revelations, lurches unsteadily between myth, politics and romance. The triumph of this outstanding, modern-ish dress production from Cheek by Jowl is to take a flighty fairytale and alchemise it into something that actually matters.
The first inspired move from director Declan Donnellan and designer Nick Ormerod is literally to open the world of the play out. They employ the whole of the Barbican's stage, newly revealed to be astonishingly wide and deep, to keep the characters orbiting around each other and scenes melting together, a visible, urgent manifestation of the link between action and consequence.
A series of illuminating tableaux accompanies the plot of thwarted love and scheming stepmothers. As separated spouses Imogen and Posthumus bid their adieux, the entire sclerotic court of King Cymbeline stands formally behind them, as if posed for a portrait.
Such exquisite presentation, aided greatly by Judith Greenwood's lighting, doesn't just add clarity, but also depth. All those fag-ends of plot, Donnellan suggests can miraculously cohere, transcend the everyday and come to resemble something like grace.
A minus point that might have assailed the five-star rating is dreadful projection from a few cast members. Still, there's impeccable diction from Jodie McNee's Imogen, who metamorphoses from a giddy girl about court to a fine young woman. Even this isn't the performance of the night, though, as Tom Hiddleston imbues the tumble-of-events excuse for a character that is Posthumus with compelling humanity, as Othello-like doubt is eventually vanquished by redemptive love. Superlative stuff.
Until 23 June. Information: 0845 120 7557.
Cymbeline
Barbican Theatre
Silk Street, EC2Y 8DS
