Review: CYRANO, Park Theatre

A new version of the old classic Cyrano de Bergerac has come to town, with the transfer of the Edinburgh Fringe production to the Park Theatre.

Virginia Gay's Cyrano is billed as 'after Edmond Rostand' and is far more than a faithful adaptation of the classic tragic tale of doomed romance. In reimagining the play, Gay finds an interesting central role for herself as the overlooked and lovesick Cyrano, wishing for more from her friendship with the bubbly Roxanne (Jessica Whitehurst), and finding a facade of words to hide the hurt she feels at comments about her ugly looks.

Cyrano, of course, is known for the large nose that disfigures her, but this is simply metaphorical in this production. It could stand for her desire for another woman in a world which seems to objectify physical beauty and male/female couplings (the muscular but dumb Yan is fawned over for his body, but no one is interested in his mind). It may also be an indicator of Cyrano's own barrier to happiness, the barrier she raises to protect her own feelings.

Roxanne's desire for Yan (Joseph Evans) at first sight is far more lust than love, which leads to an inevitable conclusion to the balcony scene where Cyrano feeds him the words to woo the lady. In Clare Watson's staging, this is a scene not just of words of longing, but physical contact, too, as Cyrano and Yan carry out an exploration of where the poetry may lead, and both are thinking of Roxanne as they touch and tease.

Elsewhere, three actors are occasionally watching, interrupting, and trying to establish their characters. David Tarkenter is the typical perennial character man, even offering a bit of unexpected flair and movement at times. In Tanvi Virmani and Tessa Wong, we have the helpful 'besties' who offer advice and sometimes display main character syndrome. They are an amusing group, and a useful foil to the more dramatic aspects of the show.

Cyrano is one of those shows which begins before the lights go down. The actors are interacting with the audience, chatting, handing out songsheets, throwing items up into the gallery. We wait to see who's who and how the play might unfold. The stage floor is marked out for the position of props and people, giving the illusion that we are watching a production take place for the first time.

The strength of this adaptation is the depth of affection Gay and Whitehurst bring to the friendship between Cyrano and Roxanne. It may be simple wish-fulfillment that allows it tto progress further (although Roxanne's description of Yan's 'relentless' attention is hardly the epitome of romance), but we buy in and accept the sweet and sensitive approach.

In setting this within a theatre, with minor players literally sidelined, and a departure from the storyline to seek an alternative, happier, ending, this Cyrano is both heartwarming and a challenge to heteronormacy. It may have a ripple or two that could be ironed out, but it finds a way to pull you into its vibrant and vivacious energy.

Cyrano continues at Park Theatre until 11 Jan 2025.

Photo credits: Craig Sugden

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