Seattle Review: Cyrano de Bergerac

Sometimes all a classic play needs is someone confident to guide it along. Too often the classics are bombarded with outlandish concepts that make these solid texts seem flawed and unnecessary. Fortunately, Seattle Shakespeare Company and their astute director Stephanie Shine realize that these works can easily survive in their original context. Shine's bright new production of Edmond Rostand's Cyrano de Bergerac gives strong proof that a great play, a great director, and solid leads are all one needs for success.

Cyrano de Bergerac is most often referred to as "the play about the guy with the big nose". Seattle Shakespeare proves that Rostand's comedy is more than just a prosthetic opportunity. Set in 1640's Paris, the story surrounds our hero Cyrano, and his love for his beautiful cousin Roxane. When Roxane professes her love for the physically alluring Christian, Cyrano finds his words in the mouth of his beloved's suitor. Cyrano de Bergerac will appeal to anyone who has experienced seemingly unreturned love. Anyone who has every felt ugly, awkward, different, or ignored is likely to find themselves in this play. Sean Patrick Taylor's focused adaptation allows the core themes to evolve without bombarding the comedy.

This Cyrano is full of memorable theatrical moments that haunt the mind long after the applause ends. A thrilling opening and a heartbreaking close act as remarkable bookends to a seamless production. Every famous scene is tackled with a much needed freshness. In a world full of distractions, Seattle Shakespeare has provided a smart escape.

Shine's crisp direction is brisk, stylish, and always appropriate. She never attempts to impress with flashy tricks. She lets this sweet story of mixed up love speak for itself. Shine knows that she's cast three exquisite actors who can easily carry this deceivingly complex show. Her direction is full of exquisite stage movements that give congruity and mood throughout. She knows when to pull back from the many raucous moments in the text, and when to let things explode. Her Cyrano is simultaneously theatrical and sensitive.

The leads offer remarkably complex portrayals. Scott Coopwood gives a tour-de-force performance in one of the trickiest roles the theatre has to offer. His Cyrano is full of the strength, pain, vulnerability, awkwardness, and bravado needed. He is aided by Emily Grogan's touching Roxane and Nathan Smith's surprisingly sensitive Christian. Their performances are devoid of the pomp and circumstance that tends to accompany such outings. Instead, intelligent choices are favored. The stage is full of pure theatrical electricity when all three parties are involved. The famous balcony scene is acts as a highlight. Shine has guided these actors beautifully through this tricky landscape.

Because the leads flesh out their performances so succinctly, some of the smaller roles tend to emerge as caricatures. There are only a few slight lulls in this otherwise solid production. Some of the actors seem a tad too swashbuckling at times, there are a few too many distracting character bits, and the problem of finding the difference between a fop and a homosexual is never solved. Small complaints aside, the large ensemble provides energetic support throughout.

John Kirschenbaum's minimal scenic design, made up primarily of two rotating walls on wheels, allows us to move quickly from each location. Though the same set pieces are used throughout, every setting has its own distinct look. Tim Wratten's lighting adds all the texture needed to let us escape into this world. Each moment has its own distinct mood which makes this already strong production even more versatile. Deborah Skorstad's costumes are always appropriate and her garments for Roxane are particularly impressive. Praise should also be bestowed on the genius behind the nose. It is a natural fit on Coopwood's face. It never distracts.

Rostand's classic can easily fall victim to cardboard portrayals that deny the truth of it all. This honest treatment is a perfect fit for a text that has fallen victim to the need to latch onto a buzz word. Here we are shown a complex work where comedy and drama are integrated to create something lasting. With three of the best performances in recent memory, Seattle Shakespeare's Cyrano de Bergerac is an absolute triumph.

Cyrano de Bergerac runs through April 9th at the Center House Theatre. For tickets call (206) 733-8222, or visit www.seattleshakespeare.org

All Photos by Erik Stuhaug

Top: Scott Coopwood as Cyrano and Emily Grogan as Roxane

Bottom: Scott Coopwood as Cyrano and Nathan Smith as Christian

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