Cyrano De Bergerac is the RSC’s latest transfer to the West End and it is based on the 1897 play which focuses on the life of writer and soldier Cyrano De Bergerac. Cyrano has long harboured feelings for his childhood friend, Roxanne, but his appearance, and in particularly his unusually large nose prevents him from confessing his feelings. She, however declares to him her love for Christian, a soldier in his company who struggles with words and Cyrano goes to great lengths to give Christian the voice that Roxanne longs for.
Simon Evans and Debris Stevenson’s adaptation is nothing short of remarkable, transforming Edmond Rostand’s classic into something that no longer feels over 125 years old. When the main protagonist of the piece is a self-declared poet and has a way with words then there is a huge expectation from his dialogue. This is where the adaptation comes into its real strength as not only does Cyrano himself have a wonderful way with words but all of the characters have their own distinct way of speaking. Cyrano’s prose is a thing of beauty, his sword fight, in which he duals both physically and verbally whilst simultaneously composing an acrostic poem is fascinating to watch. It makes it utterly believable that Roxanne would fall in love with his letters. Cyrano’s way with words is cleverly contrasted with Christian’s plain speaking along with Roxanne’s own way where she almost flirts with the language, inviting a back and forth with apparent ease.
The language of the play marries brilliantly with the music of the piece. Cyrano wins ‘a lifetime of music’ in a bet and consequently he has a band which follow him around and therefore provide the perfect mechanism to underscore every dramatic moment. The music, composed by Alex Baranowski, provides both moments of levity as well as enhancing the dramatic moments and as the show progresses the constant presence of the band is something that is simply accepted.
Adrian Lester plays the title role and he carries the show with confidence and apparent ease. He has a presence on stage that has a subtle way that ensures that the audience’s eye is always drawn back to him and he is as comfortable with comedy as he is in his tender moments. Alongside him is Susannah Fielding as Roxanne who goes on a huge journey in the show from a young woman looking for love to someone more worldly-wise and I was captivated by her at every stage of her journey, making it easy to understand just why she had so many men falling for her in the play.
With direction also by Simon Evans he has a confidence and flair about his style. He is unafraid to break the 4th wall, with the opening scene of the play set in a theatre and soon the audience throughout the auditorium find themselves surrounded by members of the cast and forced on their feet to acknowledge Comet de Guiche’s entrance. Equally later in the play when the emotional stakes rise he is comfortable with removing all gimmicks and trusting the actors and the script to deliver the gut-punch needed. Equally Evans is just as happy lulling the audience into laughter before quietly shifting into something far more devastating and not shying away from either approach.
Grace Smart’s set transforms from swiftly from tavern to battlefield with comparatively few changes. Its final incarnation is especially beautiful set, fitting for the emotional climax of the piece. Joshie Harriette’s lighting design enhances these moments, from the flashes of battle to the softer romantic moments there feels like a real purpose behind each different lighting state.
Cyrano De Bergerac is proof that great storytelling never goes out of fashion. Simon Evans and Debris Stevenson’s adaptation breathes fresh life into a centuries old tale without losing sight of what made it endure in the first place, whilst Adrian Lester delivers a performance worthy of its beautifully crafted language. Equal parts witty, romantic and quietly heartbreakingly, this is a production that celebrates the power of words, reminding us that they can inspire love and shape identity that appearances alone never could.
Thank you to Seatplan for the wonderful tickets. Cyrano De Bergerac is playing at the Noel Coward Theatre until 5th September. You can book tickets and check out your view from the seats here.
If you like this review you might also like my review for 1536, To Kill A Mockingbird and Archduke.