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Cyrano de Bergerac starring Adrian Lester (Swan Theatre, Royal Shakespeare Company) - ★★★★★ REVIEW
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ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com I feel at this point I am fated never to see a traditional production of Cyrano de Bergerac. But also, if I never saw Cyrano again in my lifetime, I could die happy. My God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you are listening to this review on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I am a professional theatre critic here on social media based in the UK and last week I headed to the Royal Shakespeare Company in Stratford Upon Avon to see their new production of Cyrano de Bergerac, a new adaptation of the classic play and one that I have seen adapted several different ways. I most recently fell in love with the Virginia Gay adaptation that I at the Edinburgh Festival Fringe. It originated in Australia. I saw it again when it transferred to London. That was a sort of a queer deconstruction of the piece that I thought was just sensational. Reminded me why I loved theatre so much. Interestingly enough, that piece, which starred Virginia Gay, was created by her in response to her seeing the Jamie Lloyd version a few years previously, which I also saw. In fact, that was my first exposure to Cyrano and it was Pete Jamie Lloyd with bleak contemporary aesthetics and people murmuring in hushed tones into microphones. Jones and James McAvoy as a bafflingly hot Cyrano. I said what I said. So I was deeply intrigued by this new version of the play at the Royal Shakespeare Company to find out what it was going to be like and today I am going to let you know it is also a new adaptation. We're going to talk about that. We're going to talk about interesting deviations that it makes from the original material from the Edmund Rostand play from the late 19th century. And given that this adaptation has been co written by the director Simon Evans, we're going to talk about how that ties in with all of the creative choices and the performances that have been collaboratively created with this company. As always, I'll be sharing my thoughts here and I would love to hear yours. If you have seen this version of Cyrano de Bergerac at the Royal Shakespeare Company, let us all know what you thought of it in the comments section down below. And if you haven't had the chance to see it yet, I encourage you to do so. To find out a little bit more about why, here is my full review. So some background then on Cyrano de Bergerac. Like I said, very late 19th century French play about a historical figure written by Edmund Rostand and Cyrano, as depicted in the play, is this 17th century Renaissance man, a hugely skilled fighter, but also a compelling wit, an intellectual and a beautifully moving poet. In every way the perfect romantic, except for the fact that he is preceded literally by his enormous nose. And this, as well as being a substantial part of his face, is a substantial part of his character and his impetus. It is what drives him because he is characterized with this intellect and this wit, but also this resentment because there are aspects of the world and of life that are not available to him because he believes them not to be, because of his enormous nose. In short, there is a woman who he has loved for some time, passionately and profoundly, the two of them having instead developed a close friendship. He's been 17th century friend zoned, essentially because this man, who will eagerly enter into a sword fight to the death over some kind of a technicality or a personal slight, is unwilling to tell a woman how he feels and has it in his head that even though the two are so clearly Intellectually matched, she could never possibly fall in love with him because of, say it with me, his enormous nose. And this sort of comedic, sorrowful plot which arises is one in which she instantly and without conversation, falls in love with a young recruited soldier named Christian and asks Cyrano if he would go and tell Christian for her. Because apparently we're all in pro school at this point, with Cyrano and Christian eventually stumbling into this scheme in which Cyrano is going to seduce Roxanne on Christian's behalf, writing letters and poetry for him, and even, on one occasion, imitating his voice. Because the beautiful Roxanne, despite having entered into this relationship purely on the basis that this was a hot young soldier who she had never once spoken to, demands a more robust, sapiosexual connection. She needs to know that he is also smart, and who's smarter or painfully better suited to her than Cyrano. Now, this continues fairly successfully, in spite of the amorous advances of a local wealthy man of nobility called De Guiche, who, in his resentment that Roxane should choose anyone but him, insists, as we head towards the second act, that everyone must go to war. This is, after all, a French play. War with whom? I forget. I think it was the Spanish. But the very romantic comedy ready plot of the first act takes a turn for the more bleak and desolate, as we end up in proximity to a literal battlefield in the second. And although it really is a concept out of a movie romcom, years and years before its time, this whole idea of, like, I was helping him to seduce you, but really it was my voice and my words you were falling in love with the entire time, even if I'm not as handsome as he is because I have this extraordinary nose. The more substantial versions of Cyrano offer a more profound musing on love and the truth of it and what it really means, and this exploration of the idea of connection and what it is that Roxanne is searching for, that Cyrano is searching for, that Christian is searching for, what it is about each of them that draws them to the other in this forming isosceles love triangle. Isosceles, because Cyrano and Christian are both in love with Roxanne, but not with each other, despite the fact that they are standing in close proximity to each other. Hence isosceles, the mathematicians. Got it. Let me tell you a little bit more about this adaptation and some of the choices and changes therein. Now, what I find very interesting is that this was developed in conjunction with leading man Adrian Lester, who is playing Cyrano de Bergerac. Himself, and in response to perhaps shortcomings of the text, aspects of the material that prompted questions. So it is an adaptation written by the director Simon Evans, in conjunction with the grime poet Deborah Stevenson, who has written modern verse sections, which I will say flow very naturally out of the prose. Like. There is not much of a sense of patchwork in terms of the collaboration here. It is all one very thorough voice and a voice that nods to the classical, but is inherently contemporary. We get a very stately opening, which is just a couple of years on from being topical, with a theater being reopened after a long period, the grandeur and solemnity of which is pierced by an actor reciting a monologue before interrupting himself by saying, nope, it's gone. And that does a lot to characterize the entire tone of the thing, because there is a sincerity and a heft to it, but there is also a playfulness. It is also inherently comedic. As an example, we are first acquainted with Christian, I believe, prior to Cyrano or Roxanne, and certainly a long time before he is invoked in their conversation with each other, at which point we are told that he, having grown up on a farm and always being classified within the material as a man of distinctly fewer words, has a thorough knowledge of collective nouns, which is to say, the words that will use for groups of animals. Flock of sheep, school of fish, pride of lions, colony of ants, a bevy of swans already, and a little charmingly identifying him as a man not without intellect, but with different intellect. I was going to say he's street smart, but he's farm smart is probably a better way of putting it. And a lot of contemporary versions of Cyrano, the Jamie Lloyd version and the Virginia Gay version, both being great examples of this, contend with and unpack our understanding of language and the meaning of it and the delight of it and the beauty, beauty of it, but also what it means to different people and this thing of different voices. And Jamie Lloyd Cyrano played with a working class dialect. For Christian, this production does the same thing, but with a regional accent versus received pronunciation. Received pronunciation being a British accent like mine, and that being also the way that the majority of the characters in this play are speaking. Certainly De Guiche, Cyrano and Roxanne. But Christian, when he arrives, has an accent from. I believe it's Hal Zoan. I looked this up and I remember it by noting that it's Hadestown with a couple of different letters, which is a part of Dudley, sort of adjacent to Birmingham, west of Cadbury World, south of the Black Country Living Museum. If you hit Wolverhampton, you've gone too far. And so he is sort of othered in his speech, but there is also a class connotation to the difference between them as well. And at one point, when Cyrano has to actually impersonate Christian, when he goes from trying to offer him words via very hysterically funny charades, and instead just takes over and creates his own voice for Roxanne to hear, though she is not able to see either of them. He ends up imitating the accent, initially to comic effect, but eventually that sort of subsides as the whole thing just becomes romantic. And that's pretty indicative of the very deft handling of the tone in this piece by Simon Evans. We turn from the comic to the tragic to the moving very steadily and with a pronounced elegance. But the other reason I wanted to tell you about Christian's halzoan accent is because it feels like a very specific choice about how to characterize him. And it does sort of add class into the narrative. And it makes him, in many ways, start to feel like a little bit more of a pawn in the machinations of Cyrano and Roxanne, rather than it usually feeling the other way around. Like, Roxanne is the victim here in their scheme, and to many extents, she still is, and she still comes to resent that. There comes eventually a revelation and a reckoning, but it's a very sympathetic portrayal of Christian, one who doesn't really enter into this agreement willingly, one who is eager at every turn to simply use his own words and try and forge a relationship with her on his own terms. And honestly, Roxanne even calls him Christiane while he introduces himself as Christian. Meanwhile, Roxanne herself is strikingly different in this adaptation as well, because they have made substantial changes to the character. She is no longer this youthful, naive woman whose extensive history with Cyrano growing up together never quite made sense, because he is almost. Almost always cast significantly older than she is. But instead, she is a woman who has recently returned to the area. She's moved back after being widowed. And a little later in life, she notes that she is very eager to find a truthful and meaningful romantic connection. She longs for a really fulfilling love. At this point in her life, Roxanne herself says, if I am to have another chance, I demand something more. Eyes that burn and a mind that dances. And so this time around, due to these changes in the writing, she arrives with wisdom, she arrives with life experience, but she also wives with agency and desire. And that still all gets pulled out from underneath her a little bit, because all of this still happens behind her back and with her being emotionally and at one point literally blindfolded. But something of the cruelty of it also feels a little bit subtracted. Before we carry on and talk about this production and the creative choices and the company, I want to tell you about a few more moments of writing. There was one line very early on that was grief sits on this city like dust. In response to a conversation about theater as a distraction from mass casualties, which felt particularly poignant, Cerano himself, around the time of his first entrance, offers a damning criticism of disingenuous and disappointing theater. This is part of a section that actually speaks to the entire meaning of the play, something I only unpacked afterwards. But an actor on stage is, in the face of Cyrano's heckling, a little thrown off and struggling to recall the lines of Shakespeare that he is meant to be delivering. So Cyrano joins him on stage and has to feed him these lines, which of course is what he ends up doing later on in the key scene of the play with Christian for Roxanne. Anyway, there is far more I want to tell you about the real identity of this production. Let us talk about the Take control of the numbers and supercharge your small business with Xero. That's X E R O. With our easy to use accounting software with automation and reporting features, you'll spend less time on manual tasks and more time understanding how your business is doing. 87% of surveyed US customers agree Xero helps improve financial visibility. Search Xero with an x or visit xero.comacast to start your 30 day free trial. Conditions apply.
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It's easy. Big gifts, big perks. That's why you rack creative choices. Now, there are many fascinating aspects of this that we have to cover, but one that we see immediately in the framing device which sort of bookends the piece. There are going to be spoilers about the ending. It's magnificent. So I have to talk about it is the appearance of a younger version of Cyrano. And I haven't mentioned to you the nose yet. This is interesting. We'll talk about this first, because in the Virginia Gay version and the Jamie Lloyd version, they required you to suspend disbelief and conceive of a nose that wasn't there, which is very powerful in its own way, because you are seeing perhaps the true beauty of the individual without the impediment, without the thing which keeps them from being loved or allowing themselves to love, depending on your perspective. Whereas in this, Adrian Lester has a big old prosthetic nose, as does the young child actor who is playing young Cyrano, who we meet at the very beginning and then on a handful of other occasions throughout the play, the meaning of which slowly begins to crystallise, because there is a line in which he. I think he is asked if he fears death, and he says that he has met Death on several occasions, and he simply says, not today, when Death arrives and Death turns and walks away. And we come to understand, especially by the second act in this moment of battle and crisis, that this younger version of himself represents Death. It is that exact scene that he has told us about. And it also, you guessed it, ends up being the final moment of the play when, despite his insistence, Death does not, on this occasion, turn and walk away. It's a brutally powerful way of representing Death. It's a really stunning piece of imagery, and it connects, I think, this character of Cyrano, who is all emot deflection and verbal sparring and literal sparring to this younger, innocent, hopeful version of himself. Except that version represents Death. It's crazy. And returning to the nose for one moment, I think it's beneficial to have it here, particularly because there is at least one moment when it literally gets in the way. He is having a conversation with Roxanne as Christian imitating him, and so close to the thing that he has always longed for. As she leans in for a kiss, he moves to reciprocate. And it seems as though he would, even though he's forgotten that he is meant to be someone else and that he is not meant to be himself. But it's the nose that sort of prevents him from being able to connect to her mouth directly. And so, once again, literally speaking, the nose reminds him of that thing that he can't have, that thing that he has convinced himself he is not allowed to have. At which point, point, he motions for Christian to take his place, tag in and kiss the woman of his dreams. And so, as it doesn't get all that heavy or all that sorrowful, and it will, as we head further into the second act, she also falls off the bench. In this moment, there's an awful lot of visual comedy. There's a lot of contemporary spirit in a lot of the characters. She has a handmaiden of sorts who stares sort of hungrily at one of Cyrano's associates. There is a moment, moment in which Cyrano and Christian have their first meeting and confrontation after Christian openly mocks his nose in a meeting with all these other soldiers. And at the end of this scene, the doors reopen with them having left and they all fall through clearly having been eavesdropping. Lots of great visual comedy moments like this. And when it's not overtly comic, there's a very playful fourth wall breaking quality to it as well. The audience are encouraged to stand for the arrival of de Geish, who comes in the sits in the audience of the theater attending the performance that begins the play. Adrian Lester's Cyrano is able to stamp on the floor and command a lighting change. This is later commented on in the script, indicative of the fact that he is in control of everything except that thing which he wants, which is Roxanne's affection. And all of this silliness is brilliantly deployed by Simon Evans, who is confidently capable of transporting us back to a place of real beauty and depth. The one that we eventually conclude with, with One of the greatest gags of this adaptation is a small band of musicians that follow Cyrano around, who he recalls and calls for and deploys on a handful of occasions. They plausibly cover the sound of him feeding lines to Christian as he is wooing Roxanne from afar, something that a lot of productions never really go to the trouble of trying to defend. But the band exists because he won them in aet. They even follow them to the front lines of the war in inexplicably, even in that moment of desolation and despair and imminent grief, we still retain that playful, smirking quality. And the production involves an awful lot of music. It invites it. Not only are these great romantic ideals, you know, there is this tremendous seduction, there is this desperate, unrequited love, there is the going to war and the return. But also just in the way that Cyrano speaks, and in verse, no less, the way that he conjures these turns of phrase, it does sort of invite a change in the mood of the lighting design. It invites the sort of stirring of this instrumental sound beneath this romantic, lush cinematic quality. The compositions are by Alex Baranowski, and I will tell you the names of musicians. They are Jim Terrio on woodwind, James Stretton on brass, Nick Lee on guitar. And Kev Waterman on percussion. We also have the actors playing Cyrano's band. They are Josh Sneezby, who is also the music director, Oliver Grant and Rachel Dawson. And the offstage musicians wear these sort of theatrical commedia dell' arte esque masks with long noses. Very Cyrano. That, presumably, is part of the set and costume design by Grace Smart, which I'll tell you more about as we continue. But before I forget to mention it, the fight and intimacy direction by Beth and Clarke is just extraordinary on both fronts. There is really captivating sword fighting and also beautiful, poignant, passionate, believable intimacy. Sarita Piotrowski is also credited with movement direction. I don't know how much crossover there is in terms of the sword fighting and battle moments, but they are fantastically well staged and thrillingly swiftly executed. This is really fast sword fighting on stage and often done, interspersed with dialogue and a battle of wits. The climax of Cyrano's introductory scene is this feat of showmanship as he is engaging in a sword fight while simultaneously executing an acrostic poet poem. It is legitimately pulse raising and one of the most impressive things I've seen on stage from an actor in a very long time. And also a combination of the two real currencies of this play, which are sword fighting and poetry. This is a world in which those two things matter more than anything else. But more about the design and the costuming is semi anachronistic, not in a way that is overtly modern or particularly distracting. It's very pursuant to the tone of the piece, which again nods to the classical, but also has a real feel for the contemporary. Roxanne, when she arrives, is very clearly characterized to us as a woman, not a girl. She has a pixie cut, she has an off the shoulder gown. I think she might be wearing flats at one point. De Guiche, similarly, is one who is well characterized to us via the clothes that he is wearing. It is an army uniform, but one fashioned from a pinstripe suit. We are able to recognize his social position in the modern world as well as his 17th century one. And the greatest feat of the set design emerges right at the end amidst this really devastated, forlorn goodbye, when De Guiche announces that the soldiers must all go to war. Christian plants for Roxanne, I believe, an acorn. There's a lot happening in this moment. People are yelling it was all going on. But certainly something is planted which, after we return from war, has meaningfully grown into a tree. Only it is a tree with the upper branches suspended from above and an entire section in the middle missing. Indicative, I think, of Roxanne's heartbreak and also Cyrano's heartbreak at its core. Or there is an emptiness. Now, early in the scene we see a falling of leaves and spoiler alert for one of the most beautiful pieces of visual direction from the entire thing. But when Roxanne finally learns of the heartbreaking reality of her circumstances and prior to realizing that Cyrano did this because he legitimately loved her, she feels foolish, she feels deceived. She learns that these letters that she has clung to for years after Christian's death, I told you it was a spoiler alert that she has been replying to, even though she knows that she will never hear from him again. When she thinks she has simply been taken for a fool and doesn't realize that Cyrano loved her, she begins to tear them up. At which point we see more falling leaves. Except they were never leaves. Or perhaps they were at the beginning and now they're not, but they are falling pieces of paper of the same color raining down from the sky above. It is stunning, it's simple, it's striking, it's beautiful. All of that is part of the most moving, heartbreaking final scene. Just a really captivating piece of theatre that managed to take my breath away multiple times in succession. A big part of which was the rapturous performances. Let us conclude by talking about this company. Now. There are really few things that can compete with Adrian Lester at the top of his game. He is such a remarkable actor and he has inherently within him such a depth of feeling, such a capacity for tension and presence like so many great actors, but also this sneaking playful quality. And when he makes his first arrival, heckling the performance as Cyrano and honking on a horn and looming like he's the Phantom of the odds opera, it's hysterical when he first attempts a West Midlands accent later in the play, it's hysterically funny. And what really begins to pierce through the armor of his wit and his aggression and all of his assertions is this loneliness and this inherent sadness that is the way that his Cyrano is characterized within a scene. He turns from boyish in his rejection after getting devastatingly friend zoned by Roxanne man to incendiary in his rage when Christian launches a series of nose based jokes at him before comic again when Christian identifies himself by name and he gives us this fantastic eye roll, Cyrano, that is Adrian, as if to say of course it effing is, but ultimately it's a very classical concoction with just enough of the contemporary brought into it. There is an elegance to his performance and also a terrific sadness to it as well, with this evident self sympathy from which he derives this remarkable wit. And like McAvoy before him, this captivating performance of the poetry. It's really one of those moments where time just stands still in a theater. As you listen to Adrian Lester beautifully caretake this material, and it's necessary that it sounds heart shattering because we have to believe that his words alone are enough to make anyone fall in love with with him, such as his extraordinary capacity for love. And that's also the enduring feeling that I thought about after the final moments of this play, is everything that it had to tell us about love. The one thing that was on my mind throughout is after seeing the Virginia Gay version, what does this Cyrano say to us right now? And I think the really timeless message of this production in particular is the power of love and the strength of that. They all head to war in the second act because when the play was being written, France was surrounded by war and they had to illustrate this idea of the noble sacrifice. And for Cyrano, his noble sacrifice is that of his heart and his own happiness. And in the final, somersaulting moments of the play, the real tragedy of it is this lingering love that Roxanne has clung to for years that she believes she can no longer quite grasp. She continues to write to a man who has died, but there's a beauty in that too, this conceptual love that continues to burn as if it were real, in spite of there being no fuel. Meanwhile, there's an additional layer of tragedy, because she has no idea that this man has been with her, has been visiting her the entire time, not expressing his true feelings for her. And when she finally discovers what they are, she wills him simply to say, I love you. From all of the profound, verbose dialogue, all of the poetry of this play, she just wants to hear I love you. Which is all that Christian wanted to say to her scenes before, years before, because that's all he knew how to say. And at the time, she found that to be dissatisfying and meaningless. But it's the only thing she never heard from Cyrano, and it's the only thing she then asks for. She, of course, is the wonderful Susanna Fielding as Roxanne. I could imagine no other actress in this role because of the comedy and the flippant nature of Roxanne throughout the piece, she is a woman connected to her own desire to her own mind. Mind. She has wit, she has humor, she has remarkable intellect. And she an almost incapacitating grief that prompts her to for years become a recluse is still flippant, is still sarcastic. Susanna Fielding finds the light hearted notes in that very, very well. She also finds the pathos. She is perhaps at her best when trying to convince de Guiche not to take the reserves to war or order them to go to war by misleading him about the true nature of her affection. And just like Greer, Dale Falk as Abigail, alongside her does a fantastic job of expressing the extent of her romantic desire, which is to say she plays the unashamed thirst of it all really well. Then we have Levi Brown as Christian, who I thought was astonishing, so heartfelt, so honest, particularly in the earliest moments of his infatuation with Roxanne before he is led into this whole scheme. And then again in the second act when brought face to face with the reality of their possible imminent war zone demise, when he insists that she be told the truth and that he wanted to love her on his own terms and that he didn't ask for any of this. I think it's such an interesting and defining feature of this Cyrano that his comes to feel like the real focal betrayal when he highlights that she was never given the opportunity to to make her own romantic choice and insists that he is not a fool. We feel for Christian and we see Christian with more clarity than I think we've been able to in previous interpretations. Many other fantastic performances in this company, including the young actor who was playing young Cyrano. There are three of them on rotation, as well as Scott Handy, whose version of the villainous de Guiche was colored more with insecurity than real menace and mad malice. He felt familiar of a lot of contemporary world leaders, one more consumed by perceptions of himself and his desires and his ego than with legitimately doing the right thing, but one who has a moment of realization and a sort of emotional growth later on in the play. Which concludes my many, many thoughts about this triumphant production of Cyrano de Bergerac at the Royal Shakespeare Company. If there is any justice in the world whatsoever, this production and its considerable panache ought to transfer to London, ought to be seen around the world, in fact ought to go on to have a substantial further life. I think it's a really remarkable interpretation of the play, as well as a really fantastic roadmap about how to conjure magical, relevant and truthful full new adaptations of classical works with an extraordinary performance at its heart. From the always remarkable. Adrian Lester, Go and see this if you haven't already. If you have already, let me know what you thought of it in the comments section down below. Did you cry at the end? I cried at the end. Everyone cried at the end. And if you did enjoy listening to my review, make sure to subscribe to my theatre themed YouTube channel. Turn on notifications so YouTube lets you know every time I post a new video or go follow me on podcast platforms. Thank you so much for listening. I hope that everyone is staying safe and that you have have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a Stagey Day.
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