Cyrano de Bergerac: Whiteley’s version is modern and funny without sacrificing the elogquence and poignancey of the original script.
When I first heard that the Gladstone was putting on Edmond Rostand’s Cyrano de Bergerac under a new translation, I immediately got flashes to awkward “modern” dialogue, too much emphasis on slapstick and, worst of all, random, misplaced attempts at song. Talk about not judging something before seeing it. David Whiteley’s version of the classic play manages to be modern and funny without sacrificing the eloquence and poignancy of the original script.
Richard Gélinas’ Cyrano is an audacious, nuanced hero. He will fight (and defeat) a hundred men, as much with his sharp tongue and poetry as with his sword. He is energetic and boisterous with his fellow soldiers, but is plagued by insecurity about his goodly-sized nose. Cyrano falls in love with his cousin Roxane, a strong and passionate woman, portrayed by a somewhat flat Élise Gauthier. Roxane, however, falls in love with Christian, a handsome, but dense young man in Cyrano’s company.
Realizing, heartbreakingly, that his love for Roxane is one sided, Cyrano decides to help Christian by writing his love letters. He pours his heart into them and wins her over. As time moves on, the ruse gets harder and harder to support and Cyrano’s conviction that Roxane could never love him deepens. His need to love and be loved is universal. His need to hide his insecurities behind bravado even more so. It’s this combination, performed so honestly and simply by Gélinas, that has drawn audiences to Cyrano de Bergerac for over a hundred years.
The Cadets of Gascony, Cyrano’s friends and fellow soldiers, as well as the wannabe poet Ragueneau add humour. The villainous Comte de Guiche (Chris McLeod), Roxane’s unwanted admirer, rounds out the play. Unfortunately, McLeod struggles with the role, particularly in the second half. The rhymes are stilted and his pacing was off as compared to the rest of the cast.
Chris McLeod and John Brogan’s fight choreography is engaging and dynamic, but could use a couple more run-throughs to be seamless. Nancy Soloman’s set is versatile and bright, adding dimension to the stage.
Whiteley’s Cyrano de Bergerac is funny as it is touchingly human. It is a play about dreams and about a fear that can’t always be overcome. Therein lies its beauty and the source of frustration for many viewers. We want Cyrano to find the strength to reveal his love, yet he refuses through to the bitter end. Yet, we do not condemn him, but accompany him on his painful journey, understanding him even when we least want to. Although the play still has some kinks, it is well worth seeing!
Ottawa, Maja Stefanovska
February 3, 2012