.Alex_Lily reviews the director Jamie Lloyd’s dazzling, contemporary take on “Cyrano de Bergerac,” which has finally arrived at BAM, after a celebrated pre-pandemic run in London.
A confession, and a sheepish one for a Francophile to make: my heart does not thrill to the prospect of sitting through “.” This may be the fault of my Anglophone ear, which is too clumsy to pick up the rapid-fire panache of Edmond Rostand’s rhyming Alexandrine couplets as they fly by in the original, and English translations have a way of starching the esprit right out of the language.
First up to the mike is Ligniere , a strutting young poet who presides as m.c., warming up the crowd with some home-town boasts. “The Parisian isn’t superior / just everyone else is inferior,” he brags, adding, “Just never mention Algeria.” He’s preening for the benefit of Christian , a provincial soldier who has just arrived in the capital to enlist as a cadet. This being France, Christian has already fallen in love at first sight, with Roxane , a lovely university student with brains to match.
Hold on. Here we have one of cinema’s most gorgeous leading men playing theatre’s ugliest. Is this a joke? A gimmick? Maybe. But isn’t a bulbous prosthetic a gimmick, too? If you can get on board with the emperor’s-new-clothes nature of Lloyd’s illusion—and, thanks to McAvoy’s smoldering, ferocious barrage of a performance, it doesn’t take long—the unaugmented nose proves less an obstacle to accepting the play’s conceit than a key to unlocking its deeper levels.
France Dernières Nouvelles, France Actualités
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