hermaphroditism in arguing that Cymbeline's lines, "oh, what am I, / A mother to the birth of three? Ne’er mother / Rejoiced deliverance more", amount a "parthenogenesis fantasy". According to Adelman and Tracey Miller-Tomlinson, in taking sole credit for the creation of his children Cymbeline acts a hermaphrodite who transforms a maternal function into a patriarchal strategy by regaining control of his male heirs and daughter, Imogen. Imogen's own experience with gender fluidity and cross-dressing has largely been interpreted through a patriarchal lens. Unlike other Shakespearean agents of onstage gender fluidity – Portia, Rosalind, Viola and Julia – Imogen is not afforded empowerment upon her transformation into Fidele. Instead, Imogen's power is inherited from her father and based upon the prospect of reproduction. Performance history After the 1611 performance mentioned by Simon Forman, there is no record of production until 1634, when the play was revived at court for Charles I and Henrietta Maria. The Caroline production was noted as being "well likte by the kinge." In 1728 John Rich staged the play with his company at Lincoln's Inn Fields, with emphasis placed on the spectacle of the production rather than the text of the play. Theophilus Cibber revived Shakespeare's text in 1744 with a performance at the Haymarket. There is evidence that Cibber put on another performance in 1746, and another in 1758. In 1761, David Garrick edited a new version of the text. It is recognized as being close to the original Shakespeare, although there are several differences. Changes included the shortening of Imogen's burial scene and the entire fifth act, including the removal of Posthumus's dream. Garrick's text was first performed in November of that year, starring Garrick himself as Posthumus. Several scholars have indicated that Garrick's Posthumus was much liked. Valerie Wayne notes that Garrick's changes made the play more nationalistic, representing a trend in perception of Cymbeline during that period. Garrick's version of Cymbeline would prove popular; it was staged a number of times over the next few decades. In the late eighteenth century, Cymbeline was performed in Jamaica. The play entered the Romantic era with John Philip Kemble's company in 1801. Kemble's productions made use of lavish spectacle and scenery; one critic noted that during the bedroom scene, the bed was so large that Iachimo all but needed a ladder to view Imogen in her sleep. Kemble added a dance to Cloten's comic wooing