BWW Reviews: St. Louis Shakespeare's Swashbuckling Production of CYRANO DE BERGERAC

If your only previous exposure to the story of Cyrano de Bergerac was through the Steve Martin vehicle Roxanne, then you've really only seen a watered down (and considerably lightened) telling of the tale. The movie is a lot of fun, but Edmond Rostand's play, which imparts a great deal of fictional ornamentation to the actual person, is much darker in nature. And while there is a generous amount of humor to be found, most of the action is played with an undercurrent of deadly seriousness, and with the countenance of the true tragedy that it is. St. Louis Shakespeare has mounted a swashbuckling staging that's neatly appointed and well performed by a game and talented cast.

I guess today we'd say that Cyrano is the type of person who overcompensates. Any glance, gesture, or hint of disgust at the enormity of his nasal extremity brings forth either the stinging steel of his blade or a steady stream of his rapier wit. In either event, the outcome usually ends in Cyrano's favor, although no amount of braggadocio on his part can conceal the heart he openly wears on his sleeve.

Rostand's story is basically a love quadrangle, with the fair Roxanne catching the eye of the evil and powerful Le Come de Guiche, the handsome, but bumbling newcomer to the guard, Christian de Neuvillette, and, of course, Cyrano, her cousin. Because she implores him to, Cyrano actually guides the clueless Christian through his courting of Roxanne, while attempting to keep him out of harm's way. However, when the guard is sent off to battle, things take a dramatic turn.

Todd Gillenardo delivers a stirring performance as Cyrano, imbuing him with a energy and vitality that have him rattling off clever rhymes with astounding speed and eloquence. His contributions in choreographing the swordplay also pays off with spirited work all around. Andrea Purnell is very good as Roxanne, and though she's been kepT Lovingly oblivious to all of Cyrano's romantic maneuvering behind the scenes, when she's finally privy to the truth she expresses her love in a truly touching and tender moment. Tom Kopp is properly villainous as de Guiche, and provides a fitting opponent for rebellious Cyrano. Casey Boland also does a fine job as the hapless Christian, who finally realizes that the words that Cyrano has provided for him are what Roxanne has fallen in love with, not him.

A solid supporting cast, some of whom play multiple roles, includes: Ben Ritchie as Lebret, Aaron Orion Baker as the fussy Rageuneau, Christina Rios as his promiscuous wife, Roger Erb as an early victim of Cyrano's blade work, and a whole host of others.

Donna Northcott's sharp direction finds her cast focused and energetic throughout this lengthy excursion into history, and her costume designs act to conjure up the period in elegant, but restrained fashion. Cristie Johnson's scenic design offers up a neatly changeable set that approximates the various locales acceptably, while Justine Brock's lighting makes the most of the constraints of the venue to provide some semblance of mood and atmosphere.

St. Louis Shakespeare's splendidly acted production of Cyrano de Bergerac continues through March 20, 2011 at the Missouri History Museum.

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