Playwright: Edmond Rostand
(translation: Mickle Maher)
At: Court Theatre and Redmoon Theatre at Museum of Contemporary Art,
220 E. Chicago
Phone: (773) 753-4472; $35-$50
Runs through: June 27
The tale of Cyrano de Bergerac has become almost iconic. The romantic verse drama has been the subject of countless adaptations on countless stages, including those of cinema and television. The story of Cyrano is one of contrasts: Cyrano's inner beauty is reflected in his facility with words and verse, while his outer appearance is marred by one of the largest noses in literary history. His love for the fair Roxane is compromised by his insecurities about his appearance, so he agrees to help his rival, the handsome but shallow Christian, win her affections.
Court, known for its adroit productions of classic literature, is the perfect home for this tragicomic look at love. And Redmoon, with its almost dreamlike propensity for telling stories through the most elegant and artful puppetry and movement, seems like the perfect partner for Court to create a new version of the old classic, one that respects the source material while, at the same time, breathes new and unique life into it. Directors Jim Lasko (of Redmoon) and Charles Newell (of Court) together form a seamless vehicle for the classic tale. I eagerly anticipate future collaborations between these two, based on their ability to speak in a single directorial voice.
Unfortunately, in spite of a vast amount of artistry, talent, and craftsmanship on display with Cyrano, I cannot heartily recommend it. The central problem for me was the fact that the puppetry (and trust me, there is some astonishing imagery here) seemed always more of a conceit than integral to telling the story. So, the show was more about showcasing the vast storehouses of creativity behind it, rather than telling Rostand's compelling story. I suppose if you go for the design (Stephanie Nelson's set is a marvel, capturing the period feel while at the same time creating a great, creaking universe that astounds; Shoshana Utchenik's puppet design is awe-inspiring), you will come away from this Cyrano well pleased. But for my money, Cyrano is about the story. And the story is lost behind the design and the technical. I never really felt Cyrano's anguish because it, like so much of the arc of the plot, was obscured behind beautiful and clever artistry like rows of wooden boots marching by themselves to indicate the onslaught of war, or Cyrano's letters moving across the stage, assembly-line style, to demonstrate their frequency.
While Cyrano is blessed with some of Chicago's finest performers, they too take a back seat to the style of the show. Laura T. Fisher, in particular, one of the city's quirkiest and most talented actresses, is completely wasted here, given little to do other than stand around and try to put some gestures and expression behind what is essentially a throw-away role. The only performer that really succeeds is Alison Halstead who plays a whimsical baker. She works because she blends in perfectly with the production design.
The collaboration between Court and Redmoon is an exciting one, fraught with large potential, but this vehicle, which I would call a triumph of style over substance, is disappointing. With Cyrano and creative design, less really is more.
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