EDMOND DE BERGERAC
The REP, Birmingham, Friday 22nd March, 2019
Cyrano de Bergerac is one of the greatest historical romance dramas ever written. Most people will be familiar with the title character and his big nose and perhaps also with the idea of him providing words of love for another man to woo the woman they both love. This play by Alexis Michalik (in an ebullient translation by Jeremy Sams) tells the story of that play’s making. We follow the early career of poet Edmond Rostand, his flops and his writer’s block, until he finds inspiration in the form of Jeanne, who happens to be the girlfriend of Rostand’s mate Leo. To add to the triangle, Rostand is married…
Michalik builds in elements that directly influence Rostand in the creation of his masterpiece, so the action closely mirrors the great work that is to come. Which is fun – we’re not here for historical accuracy!
As the writer-under-pressure, the delicately-featured Freddie Fox is excellent. Caught up in a whirl of romantic intrigue and theatrical creativity, Fox dashes around, getting more and more frazzled and then, when inspiration strikes, he bubbles over with enthusiasm. Of course, there is more to the writing process than this, but we’re not here for verisimilitude!
Fox is supported by a fine ensemble, with featured roles from Robin Morrissey as fit but dim Leo (the model for Cyrano’s Christian) and Gina Bramhill as Rostand’s muse Jeanne (the model for Cyrano’s Roxanne). Jodie Lawrence is a lot of fun as a fruity-voiced Sarah Bernhardt, among other roles, while Henry Goodman is magnificent as celebrated actor Coquelin (the first to play the role of Cyrano). Harry Kershaw is hilarious as Coquelin’s son – it takes skill to act badly! And Chizzy Akudolu swans around like a true diva as Maria, slated to be the first Roxanne. Delroy Atkinson’s Monsieur Honore is immensely appealing – it is he who is the model for Cyrano – and I enjoy Nick Cavaliere and Simon Gregor as a pair of unsavoury backers.
Robert Innes Hopkins’s set is a theatre within the theatre, a stage upon the stage. This is a theatrical piece about a piece of theatre. Director Roxana Silbert heightens the farcical aspects of the situation as well as the more dramatic moments, delivering a highly effective piece of storytelling, and that is what we’re here for! While this is a lot of fun and is excellently presented, it doesn’t pack the emotional wallop of Rostand’s great work, but then, it doesn’t have to.
We might leave knowing more about Rostand than when we came in, but above all this amusing night at the theatre makes us want to see Cyrano again.
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