Abstract
This updated reimagining of Shakespeare Cymbeline, or Imogen was a collaboration between Collingwood Arts, Melbourne, Heartstring Theatre and Burning House Theatre. The production explored 1) gender diversity, reframing Imogen as storyteller rather than the titular character of King Cymbeline and the Queen as controlling the court; 2) merging early modern set design with contemporary immersive staging (as presented at the British Shakespeare Association 2024 by Daroy and 3) performance techniques for actors character inhabitation. Performed by Elisa Armstrong as Imogen and Alys Daroy as the Queen alongside an acclaimed cast, the project investigated how combining novel and traditional performance methods might enhance actor impact, with reviews for Daroy including a fabulous Queen, utterly (Chris Boyd, The Australian) and Daroy slithered, simpered, and snarled about the stage like a nasty femme fatale akin to the prowess of Cate Blanchett—her Queen combined regal pomposity with visceral nastiness, demonstrating adroit acting talent. Her career trajectory should be one to monitor; I found her mesmerising. Her work was intelligent and commanding (Toorak Times).