★★★

“an exciting adaptation of a classic text that leaves the audience wanting more”

Before the start of Virginia Gay’s adaptation of Cyrano, the cast travel around the audience handing out poetry. A testament to the play’s dedication to words. By Cyrano’s own admission, such words should be at the forefront. However, with the use of an ever present meta-like Chorus and a somewhat self aware lead, the play felt like a study guide rather than an anthology. The story and characters were constantly being analysed and commented on as devices and functions rather than purely experiencing the world as people. The result was a simple story with an easy enough plot being complicated by its over intellectualization of itself.

Cyrano (Virginia Gay) is a local smart person, with a way with words and an unfortunately large nose. A nose so terrible that she believes she is incapable of love. They quickly meet Roxanne (Jessica Whitehurst): a beautiful yet shallow woman who has a huge crush on gorgeous yet wordless Yan (Joseph Evans). Roxanne is dissatisfied by Yan’s lack of ability to communicate meaningfully with her, which Cyrano pities. Therefore, Cyrano steps in to assist Yan by doing the talking for him. The original Cyrano is a classic text, however, not one that I’ve personally ever read or seen. This version assumes you already know the story, opening with the Chorus (Tessa Wong, David Tarkenter, Tanvi Virmani) trying to define its genre and making references which I was honestly quite confused by. If the point of modern adaptations is partly to make such classic texts more accessible then this didn’t help.

The Chorus continues to comment on the narrative throughout the play. This is of course traditional of this role, yet it did feel like the audience was being told how to feel. Points where we were told the scene is sad, for example, rather than the characters simply experiencing sadness. What saves us from this being a constant theme throughout was Virginia Gay’s performance as Cyrano. Her solo moments on stage were incredibly warm and personal, making you feel as if you were right next to her as she confessed her inner life. Other stand outs include Chorus member 2, David Tarkenter, who adds depth to his portrayal of comic relief and context delivery by giving a sense of real personal stake within the story. A very appreciated addition to the Chorus that would otherwise make the stage feel overcrowded with exposition and one liners.

This adaptation changes the ending of the story. I was made aware of this as the characters state what happens in the original. It instead concludes by an attempt to make amends. This culminates in Roxanne stating one conclusion and then very quickly changing her mind. With ten minutes of run time to spare and the need for a happy ending, deus ex machina is applied yet unfortunately lacks any punch. It was times like this in the play I deeply wished for more of the poetry that Gay uses singularly for Cyrano, to also be truly exploited for the dialogue.

The set (Amanda Stoodley) was minimal, using a mirror, three stage blocks, a spiral staircase and a piano. The floor was painted white with many markings, presumably for the movement of the set. Costume (Stoodley) was modern and reflected a sense of each character. Cyrano wears jeans, boots and a shirt which favours practicality over beauty. Roxanne wears satin red joggers and a decorated satin jacket – comfortable yet glamorous in style.

Lighting (Andy Purves) and Sound (Toby Young) were very effective in driving the piece. Moments of intimacy were heightened by gentle fades of light focused centre stage and moments of silence contracted well with the business of ensemble scenes. Dance breaks were also dotted around throughout with classic disco songs, paired with colour washes and the occasional smoke machine.

Overall, an exciting adaptation of a classic text that leaves the audience wanting more. Unfortunately I fear what they may want more of is substance.

LA CLIQUE at Christmas in Leicester Square

★★★★

“the perfect Christmas treat”

It was twenty years ago today (well, give or take a couple of months) that David Bates unveiled his alternative cabaret show at the Edinburgh Festival. Although it has grown in stature and reputation over the years it has retained its intimacy and subversive exclusivity – as though it is still a naughty secret for those that are fortunate enough to witness it. Wandering into the Spiegeltent in Leicester Square is like straying into one’s own alternative wonderland – albeit sharing it with a thousand other awe-struck spectators. “La Clique” has attracted many imitators, but Bates’ ability to lure the cream of the cabaret and circus scene into his extended and eccentric family puts the show into a genre of its own; mixing irreverence, sexiness and mayhem with jaw-dropping virtuosity and derring-do.

For the opening night of its twentieth anniversary, there is expectation. A birthday cake came out and the audience were invited to sing ‘Happy Birthday’, but otherwise it is business as usual. In fact, in some ways the show feels slightly more restrained than its previous seasons. Its censorship rating has definitely slipped down the scale – you’d be blushing less if accompanied by your maiden aunt – and the variety seems to be getting a bit slimmer. It is more circus than cabaret now. But no matter. It still thrills and inspires awe, and the performers flirtatiousness demolishes any boundary between the acts and the audience. On that note, if you manage to grab a front row seat you could well find yourself on the stage at some point (take that as a warning or an incitement depending on your preferences).

The drama still weaves through the evening. There is no storyline as such, but there is a natural cohesion between the acts as though an invisible thread links them together. It is the camaraderie we are feeling, and we want to be part of the party. There are a few newcomers to the troupe, including the ‘dysfunctional duo’ (their words – not mine) Isis Clegg-Vinell and Nathan Price. What they do on roller skates is almost beyond words. The advice to remain seated during their act probably sums it up best. They later team up with aerialist Cornelius Atkinson. Solo, Atkinson has already stunned us with his routine, but the three of them together (under the banner of ‘Trio Vertex’) defy the laws of physics, logic, gravity and most certainly good old common sense. The beauty and the danger, coupled with the eroticism and the precision, is what defines the essence of “La Clique”.

Humour runs deep too. Florian Brooks has an elegance and a nonchalance that belies the inventiveness and imagination of a stunning juggling act. Complemented by his reluctant assistant, Bubbles the goldfish (go see for yourself if you think I’m talking gibberish now) we laugh and we gape in equal measure. Asher Treleaven, when not astounding us with his Diablo skills, ups the bawdy humour stakes. As much a comic genius as a circus wizard, his hilarious repartee alone earns the show’s 16+ age guidance. Just when our muscles are being stretched through laughter, our necks take the brunt now as we strain to gaze to the heavens to witness aerialist Miranda Menzies, whose glossy knot of dark hair seems to be the only part of her that prevents her plummeting thirty feet to the ground.

Danik Abishev also balances the risqué with the risky. And with ladders. Oh, and with fire. Even, at one point, using a member of the audience as a prop. As we watch his balancing feats, we are also wondering – and not for the first or last time during the evening – ‘how does he do it?’. Bayley Graham zips through his tap dance routine like a machine gun on speed, leaving us breathless while he still manages to flirt and sip prosecco with the staccato clicks of his heel ricocheting around the tent at an alarming tempo. Stalwart and veteran of “La Clique”, Katharine Arnold, wows, as always, with her sultry sexy choreography that ignores all dimensions of space as she shimmers up and down her silks (no – that’s not a euphemism; it’s a perfectly legitimate circus phrase).

In the past, there has perhaps been more of a sense of real danger. We are left with a tiny nagging feeling that not all the stops have been pulled out for their twentieth birthday. But that is no reason at all not to attend the party. It’s also the fifth year running that the show has made its home in Leicester Square for the festive season. “La Clique” is the perfect Christmas treat. If you’ve never seen it – see it. If you have seen it – see it again. It makes life beautiful for a couple of hours. And don’t forget to pick your jaw up off the floor on the way out.

CYRANO

Park Theatre

★★★

“an exciting adaptation of a classic text that leaves the audience wanting more”

CYRANO

Park Theatre

Reviewed on 17th December 2024

by David Robinson

Photography by Craig Sugden

Previously reviewed at this venue:

CYRANO

CYRANO

CYRANO

LA CLIQUE at Christmas in Leicester Square

★★★★

“the perfect Christmas treat”

LA CLIQUE at Christmas in Leicester Square

Reviewed on 12th November 2024

by Jonathan Evans

Photography by Craig Sugden

Previous La Clique reviews:

LA CLIQUE

LA CLIQUE