Cyrano – Traverse Theatre

European Premier

Virginia Gay writes and stars in this acclaimed Aussie deconstruction of the classic romance. Portrayed as a gen-Z, gender-flipped take on Edmond Rostand’s classic story of a shy poet who lends his words to a handsome young man to woo Roxanne, the object of both their desires.

The first act of this play promises much, as the chorus, a hilarious double act of Tessa Wong and David Tarkenter, play their unnamed roles like an attentive PA and an aging thespian on his way to a King Lear rehearsal, to a tee. The talented and versatile Tanvi Virmani also wanders onto the stage at one point like a deer in the headlights. The trio are highly amusing as they never leave the stage and query what they are doing in this play, bickering continuously or offering unhelpful advice to the leads. Virmani’s bursting into Roxanne song, by The Police, at highly inappropriate times, Not Now! gets me every time.

The imperious Gay who enters from the audience side, like a wanderer returned, breaking the fourth wall to hilarious effect, inhabits the role of Cyrano like it has been written for her! She is joined by Brandon Grace’s pretty but clueless Yan, vying for the hand of Jessica Whitehurst’s headstrong and feisty Roxanne.

At one point, Virginia Gay’s, Cyrano wearily proclaims of his Frankenstein creation, The soul of a woman in the body of a Greek god!

But I’m from East London, replies Yan.

Yes, there are plenty of laughs and a powerful central performance from Gay, but the script does tend to wrap itself in knots, and plods at others, no more so than in the balcony scene, which definitely overstays its welcome. The cutesy ending is likewise, unconvincing.

Whilst this will no doubt entertain bulging audiences for all of August and is on the surface an entertaining and enjoyable play, it feels rushed, over-loaded with confused ideas and clever theatrical devices to the point of airless at times. In that sense, it doesn’t live up to its own statement that, the job of a poet is to make something more obvious and less obvious at the same time.

At the centre of this play are complex and real questions of agency and permission and of false representation. Roxanne finds Cyrano’s brain attractive and is equally drawn to Yan’s body, but she would be unwilling to sleep with either. Only when they combine together does she give herself. Cyrano’s complicit manipulation in the deflowering of Roxanne is not explored but is rather glossed over as a bit of fun, which surely rather misses the point in today’s world and comes across as a missed opportunity.

Reviewer: Greg Holstead

Reviewed: 10^th August 2024

North West End UK Rating: