Valerie Wayne presents a fresh, much-anticipated edition of Cymbeline to scholars and students that surveys existing and, suggests new, avenues through which to view both play and text. In the wake of the sexual harassment scandal covered incessantly by British and American media, it is impossible not to re-read Cymbeline without an accompanying discomfort. Though the lurid voyeurism and palpable misogyny of the play are not its central focus, Waynes new edition of Shakespeares generically-challenging work does foreground its unsettling imperialistic subject matter. Immediately the reader is put at ease with this edition. For one thing, the dramatis personae are categorised into The Britons, The Italians, The Romans and The Apparitions, picking up on the order of listing in the Oxford edition. It is hard not inwardly to thank Wayne for such clarity and, retrospectively, seems remiss of previous editors not to have made those distinctions just as explicit. Wayne also adds brief bio - graphies of each character, again making the entire experience of engaging with the play calculatedly accessible, especially as she has included every character right down to Dorothy the maid. The casting chart in the appendices is also of great help to scholars as well as performers, and even the briefest of glances across it reminds the reader of how few scenes Posthumous actually appears in: 9 out of 27, which is surprising considering that Arviragus, Guiderius and even Cloten are present in 7.