A faultless production of humour and heartbreak
Reimagining the classic Edmond Rostand 1897 verse play, the Royal Shakespeare Company have chosen to create an ‘unabashedly emotional experience for the audience’. Nothing could describe this version more accurately, created with love by co-adaptors Simon Evans and Debris Stevenson.
An iconic tale of inner and outer beauty, Cyrano de Bergerac follows the story of the old, ugly and deeply self conscious Cyrano as he pines after the beautiful and fiery Roxanne. Roxanne falls for the dreamy soldier Christian, whom Cyrano hides behind to send her love letters filled with irresistible poetry, masquerading as the words of Christian.
The production is essentially flawless from beginning to end. The first act played as a comedy with clever wordplay, farce, sublime performances and even audience participation keeping the laughs consistent and the energy high. The second act is a tragedy, with what will surely be an award-winning performance from Adrian Lester as our loveable hero Cyrano, leaving the audience in tears. Lester strikes the perfect balance between arrogance and vulnerability, sharing with the audience his love of language in the most dynamic way.
This production is filled with standout performances, notably Christian Patterson as a totally charming Ragueneau, giving the audience the perfect welcome into the theatre. Scott Handy plays a surprisingly deep Comte de Guiche, shallow and spineless at first, but totally transformed in the second act.
Despite running for a lengthy three hours, the time flies. Simon Evans directs this production to perfection with constant movement, performers and musicians making use of the auditorium space just as much as the stage. Set and costume by Grace Smart is rich and interesting without being distracting, giving a modern nod to the play’s classical past.
Taking inspiration from a moment in the original script, this production introduces the idea that Cyrano won a band to follow him around in a grammar-based bet. This wonderfully meta way to incorporate music is used to full effect, to heighten both moments of comedy and tragedy. Sound design by Donato Wharton always complements the action, and is executed perfectly by the actor-musicians.
Each character has been given their own poetic rhythm and metre to speak in, and the language of this production is a real highlight. The music doesn’t just come from the instruments, the whole script sings.
This unmissable production runs at the Noël Coward Theatre in the West End until 5 September 2026.