CYRANO

Park Theatre

★★★

“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.

CYRANO

Park Theatre

Reviewed on 17th December 2024

by David Robinson

Photography by Craig Sugden

Previously reviewed at this venue:

BETTE & JOAN | ★★★★ | December 2024

GOING FOR GOLD | ★★★★ | November 2024

THE FORSYTE SAGA | ★★★★★ | October 2024

AUTUMN | ★★½ | October 2024

23.5 HOURS | ★★★ | September 2024

BITTER LEMONS | ★★★½ | August 2024

WHEN IT HAPPENS TO YOU | ★★★★★ | August 2024

THE MARILYN CONSPIRACY | ★★★★ | June 2024

IVO GRAHAM: CAROUSEL | ★★★★ | June 2024

A SINGLE MAN | ★★★★ | May 2024

SUN BEAR | ★★★ | April 2024

HIDE AND SEEK | ★★★★ | March 2024

CYRANO

We’re now on BLUESKY – click to visit and follow

★★★★

“A stupendous performance … witty and moving”

Set conflicts, long lived feuds and a peek in the life of the big Hollywood stars. After series like Ryan Murphy’s Feud and Hollywood started swarming the media, it’s clear that audiences want to see what unfolds behind the camera lens. Bette Davis and Joan Crawford had a complicated professional relationship that had its ups and downs (mainly its downs). In Bette and Joan by Anton Burge, the actress and the movie star face each other in a battle for dominance.

The show begins with them introducing themselves and giving us a taste of their personalities in their respective dressing rooms. The exposition is necessary, but also tiring, especially if one’s familiar with the stars and their lives. But actors Greta Scacchi (who plays Bette Davis) and Felicity Dean (who plays Joan Crawford) are doing an excellent job of keeping us intrigued and absolutely hooked. They’re getting ready to shoot a scene of Whatever Happened to Baby Jane, the famous picture that brought them back to the spotlight and skyrocketed both of their careers once again. The second half seems to be somewhat similar to the first, offering some electrifying moments between the actresses and some touching monologues about their respective personal lives.

It’s a trip down memory lane, which is enjoyable, but doesn’t really lead anywhere. Capturing the vast range of this relationship in two hours is impossible, but under the direction of Sue Jenkins, the actors’ great performances make us step out of the auditorium gratified. The tricky detail about this production is that it’s not enough to portray the real people accurately, but find the sweet spot of hostility and antagonism. Scacchi and Dean succeed triumphantly, as we see them separately, but also interacting, their dynamic full of fire that brings laughter to the audience. The way Dean inhabits the viper-like lady who’s always ready to strike while keeping up appearances and sticking to good manners is mesmerising, with every hand gesture being refined and elegant. Through her monologue about Crawford’s mother and upbringing she shows her highly skilled craft, contrasting Scacchi’s direct and confrontational approach.

The set, designed by Neil Gordon, is magnificent, one of the highlights of the show I dare say. A double dressing room with little details that make each side unique and that brings out the theme of duality. After all, the two stars might come from different backgrounds, but they have more in common than they want to admit, fighting bravely to make it in a cruel industry, where youth and money is one’s currency. Lighting, designed by Joe Pilling, is an interesting mixture of vanity mirror light bulbs and spotlights that focuses the audience’s attention to the appropriate side of the stage, making it easier to follow the narrative. Pip Thurlow’s sound design is minimal, which is exactly what this piece needs as we’re focusing on the words rather than distracting stylisations.

A stupendous performance that remind us that under all the glamour of Hollywood’s golden era, actors are still people, capable of being petty, competitive and deeply vulnerable. The show is witty and moving, even if at times one wishes we’d get more scenes with the actors being together, in order to get a better taste of their relationship.

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

BETTE & JOAN

Park Theatre

★★★★

“A stupendous performance … witty and moving”

BETTE & JOAN at Park Theatre

Reviewed on 5th December 2024

by Stephanie Christodoulidou

Photography by Simon Annand

Previously reviewed at this venue:

BETTE & JOAN

BETTE & JOAN