Cyrano de Bergerac is quite a difficult play considering its standing as a cultural institution. I’ve always felt the plotting of the piece lackadaisical at the opening when we proceed through several scenes that delay the main narrative and, for those who know the plot, can the patience. Northern Broadsides are staging a new rendition of Edmond Rostand’s play, adapted by Debbie McAndrew, which may not entirely overcome that criticism, but is an admirable piece of work nonetheless.
The main strength here is certainly the actors who give spirited performances. Michael Hugo as the drunken Lignière is a charismatic raconteur and narrator for several sections (it is perfectly obvious why he opens each act). Andy Cryer and Adam Barlow have airs of pomp and cluelessness respectively as the Count de Guiche and comely-but-dumb Christian. As the rhinoceros-guardsman, Christian Edwards is confident though I have to say that this production went for a distinctly more brash and rustic take on Cyrano than I was expecting. The character is of course proud, bellicose and wilful by nature but I am more used to depictions that also emphasise his nobility. Edwards has a more rough approach to the duellist’s swagger. If not quite to my expectations, this is still delivered with aplomb. If there is one unfortunate element to the casting, it is that Sharon Singh shines a defiant and fiercely discerning Roxanne, but the structure of the story relegates her very much to the second half.
The play generally shines more in the second half for some issues that seemed more prevalent before the interval. Several scenes involve most of the cast on stage and the blocking becomes a hindrance to audibility in a few instances. As Cyrano and several other characters move about the stage and exhort, the odd line is lost as the move between and behind others.
The other element that hits a rum note every now and again is the scripting which is heavily framed around rhyming couplets – an appropriate conceit given the obsession with poetry that every other character exhibits. The issue is that at several points the anticipated rhyme draws a lot of attention to the construction of the delivery and you feel you can hear a laboured line about to chime in. This distracts from the actual content of what is being said. It by no means hamstrings the play – there are just moments in several scenes, all isolated in the first half, were this habit appears particularly affected.
The merits of the production are obvious though. It’s a lyrical and musical way to tackle a story of high emotions, poetical expressions, and large proboscises. ★★★★☆ Fenton Coulthurst 24th May 2017
