Full disclosure, a dear old friend, Susan Angelo, plays the queen in this production.

Cymbeline is listed in the original folio as The Tragedie of Cymbeline, although many scholars refer to it as one of Shakespeare’s romances, some as a comedy or tragicomedy. One critic even called it a romantic tragicomedy to cover all the bases. There are tragic elements, especially the appearance of the head, then decapitated body of one of the major characters, but most of the structure, including and especially the final scene where everything is explained, everyone finds redemption and all are pardoned with all the lose ends pulled together in speeches, makes it seem much more as if Mr. Shakespeare himself intended it to be a comedy. (”Comedie”? Mr. Shakespeare thought so, and who am I do argue?)

The press information suggests that the director and producers of the production at The Will Geer Theatricum Botanicum consider it a romance.

Cymbeline is rarely performed in the last hundred years or so, although it has it’s definite pleasures, especially the scenes with the rough country folk, Belarius (here played by a woman, Ernestine Phillips), Arviragus (Samantha Frame in a delightful turn) and Guiderius (the wonderful Matt Ducati whose rough-hewn but innocent burgeoning masculinity is more than amusing to watch and occasionally chilling).

The story of the play revolves not around Cymbeline (played by Thad Geer), a fictional king of England from around the time of Christ, but his daughter, Imogen (Willow Geer), who, shortly before the beginning of Act I, got married to her long time friend, ward of the court but lowly born Posthumus Leonatus (Mike Peebler), thus precipitating his banishment and her imprisonment - although it seems a light imprisonment - within the walls of the royal court. It seems an odd mix of Romeo and Juliet, Twelfth Night and Sleeping Beauty (complete with an evil step-mother queen who mixes potions, played here by Susan Angelo.)

Theatricum Botanicum is usually a safe place for anyone wishing a first introduction to Shakespeare performed or any seasoned Shakespearean afficionados weary of the overwrought or sadly under wrought productions common in the United States. The plays are usually at the very least competent and the setting is exquisite, a stage, open to the sky and elements, with a mountain lush with growth as a backdrop. (Remember to bring a hat for matinees, a coat for evening performances and a cushion, the seating is on bleachers.) This production is no exception, a lively romp, exciting, understandable and (for the most part) well staged and well performed.

There are some problems, of course, and I would be shirking my duty if I didn’t mention them. A large battle between the English and Romans is clumsy. It has a good conceit, half-way through the battle suddenly becomes slow motion while Posthumus sees, then battles Iachimo, the Roman who ruined Imogen’s vision in his eyes. (Iachimo is played by three different actors, Steve Matt the day I saw it.) As I watched the scene, I thought, this is interesting, and could or would have been very effective if it hadn’t been so spottily performed by the ensemble. A lack of proper rehearsal time, perhaps? In any case, it pulled me out of the action for a few moment.

The dummy of the decapitated body (see above) brought unfortunate laughter from the audience in a very dramatic scene. And a couple of the actors (perhaps it was because of the director? Definitely, it was because of the director) seem in many scenes to be in a different play. Mr. Peebler and Ms. Geer, the young lovers, seemed often to be playing at a much more heightened level of anger and grief than the rest of the production called for. Ms. Geer, especially, spends much of the play not weeping but wailing heartfelt tears in a one-note pitch that becomes tiresome by a third of the way in. They are both good actors, just unnecessarily overworked for this production.

Even with Shakespeare’s unfortunate habit, especially in the comedies, of explaining it all and pulling all the lose ends together with speeches in the last scene, the final scene of Cymbeline, especially as played by this troupe, is exciting and affecting.

Cymbeline is directed (as are most of the Shakespeare productions at Theatricum Botanicum) by Ellen Geer. The fight choreographer is Stuart Rogers, the costumer Val Miller.

The Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd, Topanga, CA 90209, midway between Pacific Coast Hoghway and the Ventura Freeway.

Ticket prices: Adults $30.00 lower tier, $20.00 upper tier. Seniors, students, equity - $20/$15. Children 5 through 11 - $10, under 5 free.

Reservations online at www.theatricum.com, or by phone at (310) 455-3723.