Rostand was only 30 when his best-known play Cyrano de Bergerac was staged. This Northern Broadsides version by Deborah McAndrew is called simply Cyrano and decorates the action with considerable song-and-dance, which does slightly obscure the central story. It’s not precisely a musical in Conrad Nelson’s direction (he is also the composer) but does emphasis how young the characters are, including the protagonist.
Christian Edwards tries very hard as Cyrano but for me he fails to convey the deeply multi-faceted character of the proud poet, playwright, swordsman and soldier. Pretty as she is, Sharon Singh doesn’t succeed in making Roxane into more than a shadow of the beauty who wins men’s hearts so effortlessly while maintaining her own integrity. The 13-strong cast does however throw up some three-dimensional character studies.
Notable among these are Andy Cryer’s arrogsnt de Guiche, Andrew Whitehead’s Le Bret, Paul Barnhill’s Ragueneau and Michael Hugo’s Lignière; Hugo has the best of the musical numbers. Adam Barlow, in an odd-looking wig, doesn’t convey either Christian’s boyish good-looking glamour or the character’s basic decency and courage.
Lis Evans has created a succession of reasonably accurate 17th century costumes and a flexible curtain-hung set easily adaptable to indicate the different locations of the five acts and with which lighting director Daniella Beattie plays games. The choreographer is Beverley Norris-Edmunds with fight direction by Philip d’Orléans. The Theatre Royal’s stage is something of an acoustic gem, but that 21st century disease – the mumbles – seems to have afflicted some of the cast.
Three and a half-star rating.
Cyrano runs at the Theatre Royal, Bury St Edmunds until 6 May with matinées on 3 and 6 May.