This will sound like heresy, but Shakespeare needed an editor when he wrote his “Cymbeline.” It’s a convoluted play that repeats the Celtic/Briton history, underlining it (several times, it seemed in watching it) along with repeated chronologies of how all the characters were going to get/or had already gotten to where they were to be, so that all could meet up to resolve the sticky issue that dominates the play – fidelity and steadfastness – with yet another recounting of how it all came about to pull it all to a close.

Basically Princess Imogen marries way beneath her, much to her father, King Cymbeline’s, disdain. The husband, Posthumus, is banished, and runs into some rogue Romans (particularly Iachimo), who cast serious doubts about Imogen’s faithfulness to her marriage vows. That complication launches the action to restore her good name.

Lara Knox and Joe Pine, Ohio Shakespeare Festival. Photo courtesy of Ohio Shakespeare Festival

Parallel to it are the questions of allegiances to King and country, to friendship, international politics, and a host of other relationships that also need to be taken care of to solve the central problem of the play, and to let love triumph.

That all takes time, and the three hour performance by the Ohio Shakespeare Festival, a Knight arts grantee, showed just how much — even with cutting short some significant fight scenes because of intermittent rain during the Friday night show in the outdoor theater. (Bring an umbrella if you need to; other smart people did while I resorted to using the playbill as a head cover.)

Director Terry Burgler made it all work superbly however. Even though you may want it to be over, his handling of the story and staging, and through the art of his gifted actors, you’ll also want to stick it out and see what ultimately happens.

Terry Burgler, director, “Cymbeline,” Ohio Shakespeare Festival.

The action of the play shifts from the King’s court, to Rome, to the mountains of Wales, to a seeming mountain man’s cave, and elsewhere – all on a single and not overly large stage. That takes some clever costuming of course to know where you are, but also some good acting to bring to life Shakespeare’s words that give a strong sense of place and ambiance.

All the actors did a great job. It’s difficult to point out some and then feel like you’re ignoring others. Each character has his or her role to play to give depth to the story. Holly Hume, for example, as the nameless Queen, is steadily fierce and manipulative. Her character doesn’t need to change that much, but only to be demandingly present, just as Timothy Champion’s Cymbeline must convey an ever-present control, no matter what the situation. These two actors memorably delivered.

Tess Burgler’s Imogen, the wronged princess, Bernard Bygott’s Posthumus, the oft-maligned and looked down upon character, and Andrew Cruse’s Iachimo, the schemer and conniver who eventually repents, have a larger range of emotions and character development. Burgler especially bounced between strong and independent, fragile and distraught, quick learning and confused – all while maintaining a characteristic dignity that her character needs. Just plain old good, solid acting.

Ohio Shakespeare Festival’s “Cymbeline” will run through August 18 at 8 p.m., Thursday-Sunday, at Stan Hywet Hall & Gardens, 714 N. Portage Path, Akron; 330-673-8761; www.ohioshakespeare.org. Tickets are $30 for center seating, $25 for open seating and $15 for students.