Review: The McCallum Fine Arts Academy Nose Something About CYRANO THE MUSICAL

Edmond Rostand wrote Cyrano De Bergerac in 1897, in verse, in rhyming couplets of twelve syllables per line, after painstakingly researching his play, which is, if you didn't realize it, based on a real life guy with a really big nose. It has been translated and performed many times over. It was adapted into the movie Roxanne, starring Steve Martin and Darryl Hannah in the 1980's. In the 70's, The Brady Bunch brought us Cyrano de Brady, wherein, Greg hides in the bushes and helps Peter try to win the love of Kerry, who hardly knows who Peter is. In 2000, Cyrano shows up as a teenager (James Franco!?) in Whatever It Takes. There's even a musical featuring contemporary pop music called, CYRANO THE BURGER SHACK. (I kid you not.)

CYRANO THE MUSICAL is yet another of these many adaptations, however much more classically styled. In this case, the French story is translated into an operetta in Dutch by Koen Van Dijk with music by Ad Van Dijk (no relation) then translated yet again with English lyrics by Peter Reeves (and additional lyrics by Sheldon Harnick.) The students of McCallum Fine Arts Academy take on the story of the swashbuckling poet in this challenging operetta under the direction of Joshua Denning and Michelle Hache to inaugurate their new season.

The story is usually easy enough to follow, possibly through the osmosis of its several hundred years of existence. Cyrano (Max Corney) is a guy who has everything: style, talent, intellect, poise, and quite a way with words. Despite all his panache (credit the story of Cyrano for bringing "panache" into the English lexicon) Cyrano has an obnoxiously large and obvious nose that hinders his way with the ladies. There's one particular lady in fact, his very distant cousin Roxanne, who Cyrano has his eyes on, but she's in love with Christian (Owen Scales) a young man in Cyrano's regiment in the French Army. Roxanne asks Cyrano to watch over Christian when they go to war, so, instead of dueling for the girl of his dreams, Cyrano makes a deal with the handsome but inarticulate Christian. He promises to ghost write to Roxanne for him. Together they make a perfect team and Roxanne falls for it. There's even that classic balcony (not to be confused with Romeo and Juliet) scene wherein Cyrano feeds words to Christian while Roxanne stands above pleading to at least have a glimpse of her lover. Tragically though (spoiler alert!) Christian dies in the War, Roxanne flees to a nunnery to mourn, and in his death, Cyrano finally professes his heartfelt love for Roxanne. Ta da! The End.

But let's not make too light of such a classic, and Cyrano is, indeed, a classic. The McCallum Fine Arts Academy mounts a strong production and the cast is chock full of talent. Max Corney provides us with an authentically loving and heart sick Cyrano. He gives a performance worthy of the envy of many actors I've seen with twice his experience and age. Sometimes, he seemed so lonely I imagined him spending his backstage time alone as well. Ellie Zambarano (who I believe was portraying Roxanne the night I attended. There was no announcement to clarify.) gave Roxanne a youthful and commanding presence. Additionally, she's got that beautiful soprano - you know the one - the one an actor needs if she's going to play an ingénue in any Sondheim show. Ellie isn't the only one though. All the young sopranos in this cast were sterling. Owen Scales gives Christian quite a bit of charm and he seemed to have had a fan club in the audience on opening night. Courtney Crocker gives De Guiche a straightforward and honest portrayal as one of the lucky women in this cast (and in general) that gets to play a sizeable role as a man. Till Simon holds his own as Le Bret, Tristan Tierney gives us a wonderful Ragueneau. Tristan holds promise for a great future. In fact, as one would expect from Austin's Fine Arts Academy, the entire huge cast holds promise.

I did have a few concerns, though, none having to do with the cast. As classic and challenging as the music may be to the cast and orchestra, it never gets past being serviceable. I have to admit, there was nary a song I had stuck in my head when I left, and there were moments when the music felt so lumbering that I wanted to poke myself with something pointy. Academically and artistically, I entirely understand the challenge and undertaking this production requires, but there's not a lot there for an audience to resonate with outside the solid performances offered.

There were also a few directorial and technical choices I didn't understand. With a stage as big as the Academy boasts, the actors seemed to do a lot of pacing back and forth on a poorly lit apron. I would have enjoyed more variety there. The blocking was occasionally clunky and I even had trouble at times, figuring out who I was supposed to be paying attention to. Additionally, the larger numbers were difficult to understand, which is unfortunate for a cast with such talent. And I admit, there were moments I wished the classic directorial note: "louder, faster, funnier," had been applied. Perhaps these glitches will tighten up as the run progresses.

Still, this production was solid, and the cast is very good. With a cast this size full of teenagers with parents, one can expect large houses every night, but I encourage attending even if you don't know anyone in the show. I invite you to be just like a friend who I ran into on opening night. I asked her if she knew someone in the show and she said "No, we just come see the shows because they're good." And they are.

Cyrano The Musical

Music By Ad Van Dijk, Original Book and Lyrics by Koen Van Dijk. English Lyrics by Peter Reeves and Additional Lyrics By Sheldon Harnick.

Directed by Joshua Denning and Michelle Hache

McCallum Fine Arts Center

5600 Sunshine Drive, Austin TX 78756

October 13-23

Tickets at www.mactheatre.com $7-$16

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