Cyrano de Bergerac

Winner (by a Nose): HADIT’s ‘Cyrano de Bergerac’ 7-10 November 2019

Always ready for a challenge, Hope Amateur Dramatic Independent Theatre (HADIT) turns its hand to poet and playwright Glyn Maxwell’s adaptation of Edmond Rostand’s play. If you are looking for passion, poetry and pathos, with a huge helping of panache – not to mention eye-popping sword fights – then this is a play to please, writes Margaret Coupe.

Set in C17th, the play focuses on Cyrano, swordsman and poet, whose nose of giant proportions matches the size of his soul. He is hopelessly devoted to Roxane, his childhood playmate, whose beauty is a magnet for other suitors. These include: the foppish Valvert (a brilliant cameo from Tim Smallwood), the scheming, predatory and married Count Antoine de Guiche (Nick Williams) and the innocent rookie soldier, Christian de Neuvillette (played with sweetness and excellent comic timing by Danny Washington). Knowing that Roxane loves Christian, Cyrano selflessly promotes the relationship by writing poetic love letters on his behalf. In the second half of the play, the scene moves to Arras, which is being besieged by the Spanish. Most of the characters are transported there, and themes of love and war become entwined.

This play can only work with an actor skilled enough to convey the wit, swagger and complexity of the main character. Paul Archer’s Cyrano is a tour de force. His sword-fighting is downright swashbuckling; another tool in his armoury is humour, which masks his vulnerability. Archer draws out the pathos as Cyrano’s nose constantly gets in the way of fulfilling his romantic dreams. This play is full of linguistic pyrotechnics: I particularly liked the way he savoured the poetry, especially in his self-deprecatory riffing on all the metaphors used to describe his nose, which ‘knows no bounds’ and would make a ‘good perch for sparrows’. I really enjoyed the scenes where he helps the hapless, prosaic and literal Christian woo Roxane by proxy and poetry.

Jo Elliott’s Roxanne is educated, witty and warm. She is someone who relishes the game of love but through the play awakens to her true feelings. Her cut-glass accent is impressive, and she too really expresses the poetic nature of the language. Her reading of Cyrano’s final letter is extremely moving.

Cyrano’s two friends are ably played by Martin Chapman and Jon Haddock. The rest of the cast take on a multiplicity of parts, starting off as nuns telling Cyrano’s story in flashback. All differentiate their parts well and the acting is characterised by energy and gusto. They also sing stirringly. This is a play rich in humour and the HADIT team are adept at comedy.

The set is simple but versatile: moving from the convent to a theatre, a busy pastry shop, and below and on Roxane’s balcony. The play ends at the convent where it began, with the siege of Arras in between. The battle scenes are brilliantly executed: a shout out to director Carolyn Garwes for the staging.

HADIT is always well served by Christine Bell, whose costumes are unfailingly impressive. The bright red flashes on the cadets of Gascony’s uniform contrast well with the austere set, and Roxane’s costumes are sumptuous, enhancing her loveliness. Full marks to the make-up team: the nose, which is almost a character in the play, is perfect.

This is an amateur production which is virtually indistinguishable from a professional one. I would urge you to head down to Hope Methodist Hall to see it.

Margaret Coupe