of Imogen. In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus. William Charles Macready mounted the play several times between 1837 and 1842. At the Theatre Royal, Marylebone, an epicene production was staged with Mary Warner, Fanny Vining, Anna Cora Mowatt, and Edward Loomis Davenport. In 1859, Cymbeline was first performed in Sri Lanka. In the late nineteenth century, the play was produced several times in India. In 1864, as part of the celebrations of Shakespeare's birth, Samuel Phelps performed the title role at Theatre Royal, Drury Lane. Helena Faucit returned to the stage for this performance. The play was also one of Ellen Terry's last performances with Henry Irving at the Lyceum in 1896. Terry's performance was widely praised, though Irving was judged an indifferent Iachimo. Like Garrick, Irving removed the dream of Posthumus; he also curtailed Iachimo's remorse and attempted to render Cloten's character consistent. A review in the Athenaeum compared this trimmed version to pastoral comedies such as As You Like It. The set design, overseen by Lawrence Alma-Tadema, was lavish and advertised as historically accurate, though the reviewer for the time complained of such anachronisms as gold crowns and printed books as props. Similarly lavish but less successful was Margaret Mather's production in New York in 1897. The sets and publicity cost $40,000, but Mather was judged too emotional and undisciplined to succeed in a fairly cerebral role. Barry Jackson staged a modern dress production for the Birmingham Rep in 1923, two years before his influential modern dress Hamlet. Walter Nugent Monck brought his Maddermarket Theatre production to Stratford in 1946, inaugurating the post-war tradition of the play. London saw two productions in the 1956 season. Michael Benthall directed the less successful production, at The Old Vic. The set design by Audrey Cruddas was notably minimal, with only a few essential props. She relied instead on a variety of lighting effects to reinforce mood; actors seemed to come out of darkness and return to darkness. Barbara Jefford was criticised as too cold and formal for Imogen; Leon Gluckman played Posthumus, Derek Godfrey Iachimo, and Derek Francis Cymbeline. Following Victorian practice, Benthall drastically shortened the last act. By contrast, Peter Hall's production at the Shakespeare Memorial presented nearly the entire play, including the long-neglected