The Ecological Resonance of Imogen’s Journey in Montana’s Parks
Minton, Gretchen E.
MetadataShow full item record
In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic. Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.
Minton, G., & Gray, M. (2022). The Ecological Resonance of Imogen’s Journey in Montana’s Parks. New Theatre Quarterly, 38(4), 299-318. doi:10.1017/S0266464X22000227