play features Iachimo, played by Rohan Kenworthy, as a British soldier and Imogen, played by Uzma Hameed, as an Indian princess. At the new Globe Theatre in 2001, a cast of six (including Abigail Thaw, Mark Rylance, and Richard Hope) used extensive doubling for the play. The cast wore identical costumes even when in disguise, allowing for particular comic effects related to doubling (as when Cloten attempts to disguise himself as Posthumus.) There have been some well-received theatrical productions including the Public Theater's 1998 production in New York City, directed by Andrei Șerban. Cymbeline was also performed at the Cambridge Arts Theatre in October 2007 in a production directed by Sir Trevor Nunn, and in November 2007 at the Chicago Shakespeare Theatre. The play was included in the 2013 repertory season of the Oregon Shakespeare Festival. In 2004 and 2014, the Hudson Shakespeare Company of New Jersey produced two distinct versions of the play. The 2004 production, directed by Jon Ciccarelli, embraced the fairy tale aspect of the story and produced a colourful version with wicked step-mothers, feisty princesses and a campy Iachimo. The 2014 version, directed by Rachel Alt, went in a completely opposite direction and placed the action on ranch in the American Old West. The Queen was a southern belle married to a rancher, with Imogen as a high society girl in love with the cowhand Posthumous. In a 2007 Cheek by Jowl production, Tom Hiddleston doubled as Posthumus and Cloten. In 2011, the Shakespeare Theatre Company of Washington, DC, presented a version of the play that emphasised its fable and folklore elements, set as a tale within a tale, as told to a child. In 2012, Antoni Cimolino directed a production at the Stratford Festival that steered into the fairy-tale elements of the text. Also in 2012 the South Sudan Theatre Company staged Cymbeline in Juba Arabic for the Shakespeare's Globe "Globe to Globe" festival. It was translated by Derik Uya Alfred and directed by Joseph Abuk. Connections between the content of the play and South Sudan's own political struggle have been drawn by the production's producers, as well as some scholars. Overall, the production was well received by audiences and critics. Critic Matt Truman gave the production four out of five stars, saying "The world's youngest nation seems delighted to be here and, played with this much heart, even Shakespeare's most rambling romance becomes irresistible."