Review: "Cyrano" The House Theatre of Chicago @ Chopin Theater, Ends 10/16

Full disclosure:  I did not receive a press ticket for this show.
This ain’t your mama’s Cyrano.  Purists will most certainly dislike it, though I’m not sure why.  Perhaps they won’t find it up to par with the real Cyrano himself: Hercule-Savinien de Cyrano de Bergerac (1619 - 1655), noted dramatist and duelist.  Or the plethora of writings based loosely on his life, among them being Edmond Rostand’s epic lyrical French verse.  Perhaps they are being purists about the many English translations, the most notable being the humorless Brian Hooker version, in which the word “panache” is never used and often slides into free verse, or the Anthony Burgess version which has gone through a series of rewrites.  But this Matt Hawkins-adaptation is also an English translation, so what are they being purists about?  And who’s to say that a century from now, people won’t be getting all defensive for Hawkins adaptation, complaining about the new “sock-puppets with those colorful miniature sabers you find lancing fruit in a tropical drink” version.  I call copyright dibs on that concept.  By the way, I put the word “purist” in my on-line thesaurus, and it suggested the word “fussbudget.”  Hmmm.  So tempting.  Just saying.

Shawn Pfautsch as Cyrano and company

What Hawkins has done is re-imagined the Cyrano legend, reducing it down to its core story of a romantic triangle that is tainted with unrequited love, and bolstered by fantastic swordsmen and women in feats of daring-do.  It is a very familiar theme, and a very comfortable one.  It is a story that will always find its way onto the stage and screen in many formats, and in this particular case, into the hearts of the audience.  Well, me at least.  I was moved by the ending, and I know the show.  But this ending captured the unique sadness of this lovers genre in a few moments of theatrical pleasure.  Hawkins is clever in his nods to the different adaptations that came before his.  For example, Cyrano’s long and elegant take about falling from the moon in Rostand’s play is turned into a short little musical piece that just meanders from the mind of his Cyrano (played with just the right - dare I?? - panache by Shawn Pfautsch, who also wrote the song lyrics with Hawkins for Kevin O'Donnell's original music).  I found it amusing, because both the old text and new song seemed to get us to the same point.  Same journey, different vehicle.   And did you know that the real Cyrano was known for his science fiction writing?  From Wikipedia: Cyrano de Bergerac's works L'Autre Monde: où les États et Empires de la Lune (The Other World: The States and Empires of the Moon) (published posthumously, 1657) and Les États et Empires du Soleil (The States and Empires of the Sun) (1662) are classics of early modern science fiction. In the former, Cyrano travels to the moon using rockets powered by firecrackers and meets the inhabitants. The moon-men have four legs, musical voices, and firearms that shoot game and cook it. See?  In the end, it all fits.


No doubt there will be some who will wax nostalgic for the meeting at the bakery, or the berating of the actor Montfleury in the first scene of the traditional presentation.  And who doesn't love to berate an actor?  Some have made careers out of that.  But Hawkins has cut an hour from the usual 3-hour length of most traditional productions with surgical precision, and then allows his other blades to take the stage.  Not only is this his adaptation, but he is the director and fight choreographer.  And what a grand spectacle it is to witness the swordplay as it engulfs the cleverly-designed, rotunda-inspired play-space, including a balcony.  There was a Globe aura to Collette Pollard's gorgeous set that I found very appealing.

Shawn Pfautsch

As for the actors, they hit all the right notes of bravado, compassion, loyalty and love demanded of them in this story.  Again, Pfautsch's Cyrano was a grand mixture of melancholy, wit, romance and correctness.  He opens the show by sitting at a piano that is center stage, and does a witty lounge-singer routine about his favorite word.  Very adroit and humorous.


The apple of his eye is Roxanne, played with sagacity and adeptness by Stacy Stoltz.  She is constantly in motion as she flits lightly around the stage, presenting an aura of surety and appeal, while in quieter moments is reflective of her feelings for the apple of her eye, Christian.  Played by the handsome and talented Glenn Stanton, this Christian is a delightful assimilation of warrior in battle and ignorance in love.  The famous balcony scene between Cyrano, Christian and Roxanne was touching and heartfelt.


I must mention Shane Brady's precise portrayal of Le Bret as well as the comic finesse of Mike Smith as Ligniere.  And, certainly kudos go to the ladies and gentlemen who wielded swords with seeming abandon; both for their skills and for them not slicing anyone in the first row.  I sat in the balcony, coward that I am.


I could go on about the costumes, sound, lighting, and etc.  All were top notch.  For those who are looking for an evening of exciting theatre, romance, comedy, music and Über-swordplay, go see this show, presented by The House Theatre of Chicago at Chopin Theatre at 1543 W. Division St. They have $10 student and Industry rush tickets available at all performances.  You can't beat it.  For more information, go here.

 Worth the price of admission?  You bet your panache it was.