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A CurtainUp Review
By Elyse Sommer
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"It's vast, Proboscis-wise its bulk is unsurpassed. I'm proud to have this great growth on my I spurn the normal and the commonplace. And what's more, if you saw it with my eyes You'd envy me its scintillating size: A great nose is a sign of a great mind: The big-nosed man is courteous and kind Brave, charming, affable, the soul of wit Like me – and not like you – you piece of shit!" —Cyrano, claiming pride in his "vast" proboscis, though his pride does not give him the courage to declare his love for the beautiful Roxane. |
Douglas Hodge
(Photo: Joan Marcus) |
Since American audiences haven't ever seen Hodge in the Shakespearean and Pinter roles with which he made his reputation in london, Edmond Eugène Alexis Rostand's (1868-1918) Cyrano de Bergerac, named for its swashbuckling big nosed hero and title character and inspired by a real life seventeenth century poet, comes closer to the classic roles for which he was trained. Still, contrary to what you might think, the roles of the dashing seventeenth century swordsman-poet and Jerry Herman's transvestite diva have a lot in common. Both showcase Hodge's masterful ability to navigate between poignancy and humor. Both Albin and Cyrano are genuinely good people who love deeply and devotedly but have no patience for false values and pomposity.
As Hodge himself explained his awareness of the Albin-Cyrano kinship in a pre-opening promotional interview:"Both are on the outside of society, both are alone, both have huge hearts, both create their own personalities because of who they are. They both choose to live their lives in a certain way, regardless of what people say about them. There's a thing about both of them that sets them apart."\
Since Parisian critics and audiences embraced Cyrano de Bergerac with some forty curtain calls a hundred years ago, there have been enough film and stage versions (fourteen on Broadway) to make Cyrano as familiar a character as Hamlet and Romeo. The title character is a role actors covet for the chance it provides for showmanship (can you think of another character who compose and delivers verse while fighting a duel?), the flamboyance of D'Artagnan crossed with Don Quixote's wistfulness and indestructible devotion. Thus, having attracted the acting world's crème-de-la-crème, Hodge isn't breaking new ground but following in a long trail of famous footsteps. To name just three of the most notable: Jose Ferrer on stage in 1949 an forever on screen, Kevin Kline just five years ago, Steve Martin take in the film Roxane.
The never endng revivals and adaptations indicate a ready audience for any new Broadway production, especially given Hodge's La Cage-built popularity. On the other hand, the new production's sponsor, the Roundabout Theatre Company, risked coming up against some Cyrano-weary minds. I'll admit to a bit of Cyrano fatigue myself since I've seen my share of schnozzolas, including a really fun
Still, the Roundabout is a major New York theatrical presence so whether a world premiere or the umpteenth revival, if you're a theater critic, a Roundabout production is a must see. That's not that I had to be dragged to the American Airlines Theater. Even though I couldn't help wishing Hodge were returning to Broadway in a play I hadn't seen fairly recently, I loved Hodge's Albin enough to be eager to see him display his acting chops in a more classical role and ready to be bowled over again. To cut to the chase, Hodge delivers the goods. Multiple Cyrano viewers will find that he more than holds his own with the best of them. If you've never seen a live performance of Rostand's play, this Cyrano brings the required dash and dazzle to this acme of star-crossed lover plays
Besides Hodge as the chief hedge (word play intentional) against against that "oh, not again" mindset, the Roundabout has gathered together a big, generally solid cast, provided its usual strong production values, plus a witty new couplet translation by Ranjit Bolt.
Whatever his standing among Cyranos past and future, Hodge surely sports the biggest and most grotesque nose ever. It's not just gigantic but gross. That grossness intensifies Cyrano's bravado defense and adds poignancy to his shyness about declaring himself to Roxane except through a handsome but less verbal proxy. Director Jamie Lloyd builds our suspense about having a look at our gross-nosed hero by introducing him first via his strongest suit — his silvery tongue. Thus the initial speech is delivered from the back of the theater's orchestra section, with Hodge then rushing down the aisle to leap to the stage.
Soutra Gilmour's scenery, atmospherically lit by Japhy Weideman, establishes the mood and flavor of the period and accommodate the play's dramatic highlights. These of course include the big duel with Valvert (Samuel Roukin), the "gutless popinjay" that the married De Guiche (Patrick Page) hopes to use as a means to fulfill his own plans for the beautiful Roxane (Clemence Poésy). That's when Cyrano nimbly wields his sword as he composes and delivers a couplet. There's also the balcony scene when Cyrano first acts as the tongue-tied Christian (Kyle Soller). I can't recall a more poignant expression of dashed hopes than Cyrano's repeated "A" during Roxane's declaration of her love for Christian.
The shift to Ragueneau's bakery adds a lighter touch and the seamless segue from the battlefield to the convent where the star-crossed love affair unfolds to its heart pinching conclusion is one of the production's real scenic coups. For the most inventive and lively staging, the above mention a href="cyranoberk.html"> summer theater production retains its #1 position in my memory book.
The cast is too large to go into details about everyone. Clemence Poésy's Roxane passes muster in the looks department. She's not quite as riveting as Hodge (but then it's the title characterr's show), but she does deliver her lines with clarity and feeling. Kyle Soleris's Christian doesn't make quite as much of an impression. When it comes to the most memorable supporting role, top honor goes to Patrick Page who's as splendidly villainous as the Compte de Guiche as he was in his last gig as the Green Goblin in Spiderman right next door. Geraldine Hughes is a very satisfying Duenna and Sister Marthe.
Postscript: While Cyrano de Bergerac is Rostand's one big hit, another of his plays, Les Romanesques, has indirectly enjoyed a spectacularly long run throughout the world as the source for the modest little musical by Tom Jones and Harvey Schmidt, The Fantasticks. In fact, after loosing its long time downtown home, it re-opened at the Snapple Theater in 2006 where it continues to enjoy an open run.
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Cyrano de Bergerac by Edmond Rostand Translation by Ranjit Bolt Directed by Jamie Lloyd Cast: Douglas Hodge (Cyrano), Clemence Poésy (Roxane), Max Baker (Le Bret), Bill Buell (Ragueneau), Geraldine Hughes (Duenna & Marthe), Kyle Soller (Christian), Samuel Roukin (Valvert ), Patrick Page ( Compte de Guice) Peter Bradbury (Carbon de Castel-Jaloux), Mikaela Feely-Lehmann (Claire), Andy Grotelueschen (Montefleury & Friar), Frances Mercanti-Anthony (Amélie, Lise, Sister Marguérite), Tim McGeever (Lignière, Poet) Ben Steinfeld (Musketeer, Cadet). Sets & Costumes: Soutra Gilmour Lights: Japhy Weideman Sound: Dan Moses Schreier Music: Charlie Rosen Hair & Wig Design: Amanda Miller Movement: Chris Bailey Fight Director: Jacob Grigolia Rosenbaum Dialect Coach: Kate Wilson Stage Manager: Nevin Hedley Running Time: 2 hours and 40 minutes, with 1 intermission Roundabout's American Airlines 227 West 42ndEdmond Rostand's much produced play. 9/13/12; opening 10/11/12; closing 11/25/12. Ticket prices range from $42.00-127 Tuesday through Saturday evening at 8:00PM with Wednesday, Saturday and Sunday matinees at 2:00PM Reviewed by Elyse Sommer at October 5th press preview |
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