Review: CYRANO DE BERGERAC, Starring Adrian Lester, Noël Coward Theatre

Edmond Rostand’s classic comes back to the West End with a new adaptation by Simon Evans and Debris Stevenson. This is a drastically different approach from the last time we saw Cyrano on a commercial stage. If Jamie Llloyd redefined the story in 2019, Evans grounds it back to its roots in an open-hearted celebration of emotion, language, and empathy. With Cyrano, Rostand explores the timeless relation between inner and outer beauty. Adrian Lester shines as the big-schnozzed poet, joined by the remarkable Susannah Fielding as Roxane.

Our protagonist, a 17th-century nobleman, is a witty master duelist who’s an incredibly talented writer. He is, however, burdened with a large and unsightly nose that he believes makes him unlovable. Due to this impairment, he refuses to disclose his feelings for the fair Roxane. Enter Christian, a handsome but witless cadet who’s fallen for her at first sight. Cyrano agrees to help Christian woo Roxane with a series of heartfelt letters; Roxane falls in love with the words, believing them to be Christian’s. War explodes, chaos ensues, and the ruse runs until death bangs on Cyrano’s doors. Fin.

It’s the perfect romantic tragedy for the heat of summer. Evans and Stevenson’s script is a cornucopia of beautiful poetry and charming dialogue. The text revels in its construction, with delectable turns of phrase that affirm the subtleties of the plot. The poetic rhythm of the play is simply exquisite, seamlessly flowing from verse to prose. The visuals are as much of a treat. Evans spreads the action, using up the vastness of the Noël Coward stage with a stout set design by Grace Smart. It corrals the company with the mock stone of a grandiose building.

The performance spills out of the proscenium, with many opportunities for audience interaction and meta-theatrical winks. It’s funny and engaging, breaking the illusion of pretence and establishing a direct discussion with our time. The creative team reiterates the story’s relevance by employing the ol’ trick of sartorial ambiguity. The scene is clearly planted in the past, but the men wear jeans and other anachronistic pieces of clothing alongside their swords. Roxane’s gowns are gorgeous, but most definitely not appropriate or showing any period accuracy. Nonetheless, the production looks great.

The cast deliver a collection of brilliant portrayals, but it’s clear that this is Adrian Lester’s show. He hides Cyrano’s emotional insecurity behind his intellectual superiority, doubling down on the flamboyance of his word choice whenever he perceives an attack on his person. He is giggly and teasing one moment, heartbreaking and tender the other, slipping between humour and reflection in the same sentence, mesmerising as he endlessly spars with unworthy opponents in a duel as he does in conversation.

Fielding is a firecracker of a Roxane, introducing an opinionated woman who’s unafraid of taking the lead and talking back. She’s aware of her good looks and uses them to manipulate her suitors. Scott Handy is one of them: the sleazy, intimidating, cowardly Comte de Guiche, a lifelike villain. On the other side of Roxane’s ring, Levi Brown is the young and attractively superficial Christian. Other highlights in the ensemble: Philip Cumbus as the loyal Le Bret and the band that follows Cyrano around.

Music accompanies much of the narrative, emphasising moments of intensity when they’re not being directly beckoned by the characters. It’s a nice touch. All in all, the project is a lovely, fairly traditional, yet utterly enjoyable piece of theatre. It tends to run a bit long, almost hitting the three-hour mark, but it’s not a slog at all. The performances are notable, the writing is stunning, and the direction is tight. What’s not to love?

Cyrano de Bergerac runs at the Noël Coward Theatre until 5 September.

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