Image by Marc Brenner
Review by: Flynn Ng
Rating: ★★★★★
Cyrano de Bergerac Review: But Dearer Still Is Language
Have I ever mentioned that Cyrano de Bergerac is one of my favourite classical plays? If not, I am saying it now.
After its acclaimed run in Stratford-upon-Avon, the Royal Shakespeare Company's production has arrived in the West End, earning a well-deserved standing ovation. Simon Evans and Debris Stevenson stay close to Rostand's original while making a number of thoughtful changes that give the play a fresh emotional weight.
Rostand based Cyrano on the 17th century writer, soldier and philosopher of the same name, who really did have a very large nose. The famous love triangle, however, was his own invention. It gave the stage one of its most unforgettable characters.
Cyrano loves poetry and literature even more than he loves Roxanne. That is what makes him such a tragic figure.
Adrian Lester is outstanding in the title role. He moves easily between Cyrano's confidence and his vulnerability. In one moment, he is using words and a sword to defeat his opponents. In the next, he shyly confesses to his friend that he loves Roxanne. Lester also shows Cyrano's kindness. He helps Christian when he cannot answer Roxanne with the kind of language she longs for. He writes the first letter for him and later speaks to Roxanne from the shadows beneath her balcony. Every choice feels honest. Cyrano is generous, proud, insecure and deeply loving, all at the same time.
That complexity is what makes the role so difficult. The play celebrates honour and chivalry, but in the classical tradition these ideas are often mixed with self-doubt and self-love dressed up as love. The woman’s own choice is almost absent. It is easy for this kind of love to become possessive, even toxic. The line is very fine, and Lester handles it very well.
Susannah Fielding gives an excellent performance as Roxanne. She is lively, confident and full of charm. More importantly, she has real agency and actively pursues the love she wants. She is drawn to Christian's appearance, but she also falls in love with beautiful words. Later, when she arrives at the battlefield after reading the letters, she brings warmth, courage and hope with her.
In many ways, Cyrano and Roxanne are mirrors of each other. Both are talented, brave and deeply in love with language. In the end, both are also in love with an idea of the person they think they know.
The live band works very well. The music supports the mood without becoming too much, and the musicians' small moments in the action add humour at just the right time.
Evans and Stevenson keep much of Rostand's wit, wordplay and poetry, while adding several new ideas that fit naturally into the story. One of the most moving comes just before Christian dies. Cyrano tells him one last kind lie. He says that Roxanne has chosen him and is willing to share a real life with the real Christian, with their hands on the soil rather than living only through beautiful words.
The ending is especially strong. Throughout the play, Death appears several times as a young boy, a figure only Cyrano can see. It may also be read as a version of Cyrano himself in childhood. This time, when the boy returns again, Cyrano’s fear and anger finally find a clear target, even though Death is simply standing at the edge of the stage, watching in silence. After a lifetime of saying ‘not today’ to Death, today has finally come.
As Cyrano dies in Roxanne's arms, his spirit stands up one last time and walks behind her. Even then, he cannot say the one word that has always been too soft for her.
He never says it.
But by then, we already know.
Cyrano de Bergerac is at Noël Coward Theatre, until 5 September.
Images and video courtesy of Royal Shakespeare Company.