Reviewed by James Karas
Edmond Rostand’s Cyrano
de Bergerac is justly famous for bringing to the stage a captivating
idea. An ugly man, Cyrano, falls in love with a beautiful woman, Roxanne; she
falls in love with a handsome man, Christian. The poetry that brings the woman
and the handsome man together belongs to the ugly man.
The play is not very
good by most standards but is does contain at least two theatrically supreme
scenes: the balcony scene and the final act when Roxanne realizes identity of
her supreme lover and the person under her balcony. In between there are many
crowd scenes with a lot of commotion and yelling to little effect. There are
some quieter moments but without the balcony and final scene Cyrano de Bergerac would be a dud.
The Roundabout
Theatre Company has staged a disappointing production of the play at the American
Airlines Theatre in New York. Any production that lacks a first-rate Cyrano and
Roxanne is doomed to failure. This production has Douglas Hodge as Cyrano and
Clémence Poésy as Roxanne.
Cyrano is a man of
many talents. He is a swashbuckler, a poet, a philosopher, a fearless soldier
and a man of uncompromising principals. In his own word, he has “panache” which
should include style, flair, flamboyance and a quality that sets him apart from
ordinary mortals. He does have one defect: he has a huge nose that makes him
ugly and, in his opinion, completely unattractive to women.
What does Hodge give
us? He does a fine job as a swordsman and the poetry given to him by Rostand
qualifies him as a wordsmith. His great scene comes when he woos Roxanne from
under her balcony, disguised as the handsome Christian. Here he unleashes so
much passion and intense emotion, that it would melt steel. The cool Roxanne is
moved to pieces as she exclaims that she trembles, weeps and burns with love
for “him.”
The problem is that
all of those emotions are in the words of Rostand (in a new translation by
Ranjit Bolt) and not in the voices of Hodge and Poésy. Poésy does provide some
emotional fervor and statuesque beauty (especially in the final scene) but she
lacks the intensity that would make a convincing Roxanne.
Hodge has no poetry
in his voice or passion in his heart. First of all he lacks the “panache” that
he is so proud of. He moves awkwardly and is unable to strike a heroic stance.
Even in the final scene when he is reading his last letter to Roxanne, he
twitches and squirms when he should be delivering his words with searing
intensity.
The crowd scenes from
the opening in the Hotel de Bourgogne, to the scenes in the bakery and
especially at the war front in Arras do generate energy and noise. There is
some humour, not all intentional. Kyle Soller as Christian is a handsome dunce
but his poetic illiteracy does not stand out because Cyrano himself is not very
poetic. The rest of the cast from Patrick Page’s Comte de Guiche to Bill
Buell’s Ragueneau to Geraldine Hughes’s Duenna do at least a good job competent
but the play does not depend on them nor are they enough to make the production
memorable.
In short, the evening
simply lacked panache.
Cyrano de Bergerac by Edmond Rostand opened on October 11 and played
until November 25, 2011, at the American Airlines Theatre, 227 West 42nd
Street, New York, N.Y. www.roundabouttheatre.org/
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