New `Cyrano' in Berkeley misses mark by a nose
Aurora Theatre's solid production loses a little of story's wit, passion
Cyrano is a character that everyone nose — uh, knows. Edmond Rostand's 1897 play “Cyrano de Bergerac” introduced the witty swordsman with the enormous proboscis, and he's been unforgettable ever since.
A devastating dueler with equally devastating wit, Cyrano challenges anyone who dares comment on his prominent schnoz. He's deeply in love with his oldest friend, Roxane, but is too self-conscious of his looks to confess it. When she falls for his handsome but inarticulate fellow soldier, Christian, Cyrano ghost-writes all Christian's love letters to give Roxane the eloquent lover she demands and deserves. But who is it that Roxane really loves, the face that entices her, or the person who's bared his heart so beautifully?
Berkeley's Aurora Theatre Company is now presenting a new adaptation simply titled “Cyrano,” adapted and directed by company artistic director Josh Costello.
His is the latest of many such adaptations. Over the last several years, completely different versions of “Cyrano” have played TheatreWorks Silicon Valley, the Livermore Shakespeare Festival and Petaluma's Cinnabar Theater. An adaptation by San Francisco playwright Marissa Skudlarek was scheduled to premiere with Cutting Ball Theater in 2020 but was waylaid by the pandemic. And that's to say nothing of the many movies from the Steve Martin film “Roxanne” to the 2021 musical film with Peter
Dinklage, itself adapted from a stage musical.
Although best known as a director, Costello has done some marvelous adaptations before, including “Little Brother” with Custom Made Theatre Co. (based on Cory Doctorow's novel) and “Ubu for President” (based on Alfred Jarry's “Ubu Roi”) for Shotgun Players.
Costello's “Cyrano” is not in rhyming couplets like the French original, nor is it particularly modernized. It is, however, highly streamlined, with many characters and settings
omitted and scenes consolidated. Some of those scenes are missed here, as they help flesh out Cyrano's character and how he moves about in society aside from his skill at combat and poetical bent. The cuts also deprive theatergoers some occasions of Cyrano's biting wit, although there's still plenty to go around.
It's now a play for five performers, only one of whom plays a double role. Costello is blessed here with a strong cast of local performers, all of whom have been in previous Aurora
productions.
William Thomas Hodgson is a dashing Cyrano, full of easy-flowing wit and brimming with cocky confidence in everything but the love he dares not confess. He's most compelling in moments when he gets carried away with that longing, covered up the rest of the time by his wry bravado.
Leontyne Mbele-Mbong as is a sharp and self-assured Roxane, impatient with all but the wittiest company and slyly manipulative when she needs to be. Steven Flores exudes slow-witted amiability as Christian, and Adrian Roberts is a sober, conscientious sounding board for Cyrano as his steadfast friend Le Bret. Roberts also plays a somber and slightly bemused friar in a hooded monk's robe.
Ron Campbell is comically foppish and haughty as Count de Guiche, accustomed to wealth, rank and privilege making up for his lack of wit and charm. Imperious with Cyrano, he's touchingly vulnerable at the slightest hint of favor from Roxane.
Carlos Aveces' set keeps it simple with little more than a balcony and a big moon-like disc in the background. Chris Houston's melancholy pulsing music effectively underscores key moments.
Maggie Whitaker's costumes are appropriately swashbuckling, with hugefeathered hats for the gents and bright-colored gowns for mademoiselle, and Cyrano's nose is impressively ludicrous.
There's some keen comical swordplay between Hodgson and Campbell in the one lengthy swordfight, impressively choreographed by fight director Dave Maier, especially considering what an intimate space Aurora has.
Even with all these fine elements in place, there's an energy lacking from the proceedings. This “Cyrano” is clever enough but emotionally detached, with more panache than heart.