Richmond Theatre – until 4 May 2019
Reviewed by Claire Roderick
3***
Edmond Rostand gets the Shakespeare in Love treatment in Alex Michalik’s comedy reimagining of the writing of Cyrano de Bergerac. Jeremy Sams’ translation of this French hit is a mix of fantastic farce and maudlin moments.
With café owner Monsieur Honore (Delroy Atkinson) setting the scene for 1895 with historical details of French innovations, we first see poet Edmond Rostand (Freddie Fox) after dismal reviews for his latest poetic play. Championed by Sarah Bernhardt (Josie Lawrence), Edmond despairingly tries to write something new, but is uninspired until a pep talk from Honore. Brash actor friend Leo (Robin Morrisey) needs help wooing Jeanne (Gina Bramhill), a huge fan of poetry. Edmond’s verses and her replies inspire him to write Cyrano, and the opportunity to play such a character is jumped upon by actor Constant Coquelin (Henry Goodman). With gangster producers, a demanding diva of a leading lady and the threat of being closed down before the show even opens, there is plenty of scope for comic misadventure.
The farce is superb, with the versatile set and atmosphere creating a production that feels like Carry On up the Moulin Rouge. Freddie Fox is fantastic as the nervy, socially awkward Rostand – sipping daintily on camomile tea as everyone around him knocks back the absinthe. Henry Goodman makes Coquelin a loveable old ham, desperate for a duel scene to prove he still has youthful vigour. Josie Lawrence is magnificent as the over enunciating Bernhardt and is a scream in her other roles. This is truly an ensemble piece, with director Roxana Silbert and movement director Liam Steel setting up some inspired visuals whether in scenes where Parisians see the Lumiere brothers’ moving pictures or simply moving props around. Seamless stuff. The farce is handled brilliantly, with Nick Cavaliere and Simon Gregor doing their utmost to steal every scene with their broad but hysterical characterisations. What doesn’t work so well is the latter part of act two when the play is actually performed. There are some moments of ridiculous comedy and visual jokes, but watching Coquelin and his cast perform whole scenes that we have already seen formed in comic circumstances just feels dull. Michalik probably wanted to show the reverence for Rostand’s play, but it just drags down the ending – which is lowkey enough as it is. There’s a good 20 minutes that could be trimmed to make this an excellent, evenly paced comedy.
Even with the disappointing ending, Edmond de Bergerac is a funny feel-good show that is well worth a look.