When Edmond Rostand wrote his “Cyrano de Bergerac” in 1897, he created a comic love story whose main character is a swashbuckling poet and playwright whose ability with a sword was legendary. Just as legendary was the size of Cyrano’s nose and his sensitivity to any comment about it. Rostand’s “Cyrano” was written in rhymed couplets. The production of “Cyrano” at the Folger Theatre is translated by Michael Hollinger, who does not use rhymed couplets but is sensitive to the spirit of Rostand’s original, employing many poetic effects and devices. Hollinger and director Aaron Posner have adapted “Cyrano” so that the substance and shape, the comedy and passion of the original remain but are made fresh and modern.
“Cyrano” is set in Paris and Arras, France, in 1640 and 1655. All of Act I establishes an unconventional love triangle. Despite his love for the beautiful Roxane (Brenda Withers), the well-spoken, eloquent Cyrano (Eric Hissom) agrees to become the “voice” of the handsome but inarticulate Christian (Bobby Moreno), who wants to woo Roxane. At first Cyrano writes letters to her. Then he speaks to her directly, pretending to be Christian.
| Onstage |
| ‘Cyrano’ |
| Where: The Folger Theatre, 201 E. Capitol St. SW |
| When: Through June 5 |
| Info: $39 to $60; 202-544-7077; folger.edu |
There are many delights tucked into this production. One of the greatest is watching Cyrano stay the same on the outside while internally he alters completely. Outwardly he remains the ungainly swordsman, with stringy hair and scraggly beard; in his heart, he becomes Roxane’s darling.
Hissom is a fine actor, capable of exhibiting all of Cyrano’s complexity: his braggadocio, lyric gift and intelligence, as well as his insecurity and loneliness when he sees Roxane and Christian kissing. Withers and Moreno are equally fine as the beautiful young couple whose love is built upon a lie.
Hollinger and Posner have cleverly compressed a large cast into a tight, talented ensemble of nine. Craig Wallace is impressive as the swaggering de Guiche. Todd Scofield perfectly captures the bombastic actor Montfleury, giving a short sample of the perils of declamatory acting. Dan Crane and Richard Ruiz are particularly effective as De Valver and Ragueneau, respectively.
Daniel Conway’s set is a combination of rough-hewn wood and metal, with several balcony spaces above a lower playing level. Devon Painter’s costumes are brilliant collisions of feathers, leather and silk. Thom Weaver’s lighting is subtle and imaginative, at one point creating the illusion of Cyrano’s slaughter of 100 men.
The Folger production emphasizes all the richness of “Cyrano”: the double love stories; the tale of improbable friendship; the story of camaraderie of the “Gascony Guards.” But it illuminates best the soul of the unique Cyrano, a man who would die rather than be a hypocrite, or miss an opportunity to celebrate the moon.
