James McAvoy ( X-Men, Atonement) returns to the stage in an inventive new adaptation of Cyrano de Bergerac, broadcast live to cinemas from the London’s West End.įierce with a pen and notorious in combat, Cyrano almost has it all - if only he could win the heart of his true love Roxane. All tickets purchased for April 26 will be honored for the new date.īy Edmond Rostand, in a new version by Martin Crimp This broadcast is dependent on Skagit County entering Phase 3 of the governor's Safe Start Plan. And while you’re at it, also have a look what else Théâtre de la Cité has on tap in its 2019/2020 programme … because Cyrano was an early but by far not the only one of its highlights this season.Rescheduled from April 26. Look out for it to come to a playhouse near you soon when it goes on tour (watch for dates to be announced on Miranda’s website or Facebook page. what – Oscar-worthy? Molière award material? In any case, it is a terrific success and an unmissable play (even for those who don’t speak French), and a worthy celebration of 10 years of Cie. Refreshing, charming, and original – Cyrano is…. Even if she had no hand in this play, her intangible influence is still noticeable in many ways, from the way scene changes happen on stage to the playful lightness and musicality of the play. But it has to be said, this Cyrano is also more than just a fleeting reverence to Irina Brook’s way of doing theatre. He is a Shakespearian after all, and the pure, unbridled joy of performing permeates the play, even if the subject at hand is a French classic. Working in tandem with director Thierry Surace, much-sought-after artistic adviser William Mesguich has left his clearly legible signature on the piece. No wonder Cyrano was one of the big successes of the 2019 Avignon Festival where it was first presented. From Philippe Maurin’s creative scenography to perfectly attuned live music – special kudos to Julien Faure who along with his role as Christian also reveals himself as a talented drummer – everything comes together into a truly unique, original, and well-thought-out play. Jessica Astier is a fine Roxane between strength and vulnerability. Thierry Surace, who also directs, inhabits Cyrano both with gravitas and a sense of self-mockery.
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The actors slip not only into their own roles but also in the skin of certain 1920s film stars… Erich von Stroheim, Gloria Swanson, Louise Brooks, Douglas Fairbanks, Harold Lloyd, Buster Keaton, Stan Laurel… They are having fun and know how to carry the audience from nervous anticipation to breathless silence. And, unspokenly, it also pays subtle homage to Nice’s 100 year anniversary of the Victorine film studios. The myth of Cyrano is recreated before our eyes with humour and poetry in a tribute to its original author but also to Méliès, the brilliant craftsman of cinematographic illusion. The audience finds itself whisked in the middle of a frantic and frazzled film shoot, a joyful hysteria of creation, changes of scenery and characters. A wounded hero, he is the romantic artist who goes all the way, sequence after sequence, until the final “ clap”. The big-nosed tragic protagonist wears a half-mask like many World War One soldiers who had suffered facial injuries and covered missing parts with bronze or ceramic reconstructions. Roll – Camera – Action! Cyrano becomes an actor-director in a 1920s film, and the cadets his hapless stage hands. This light but respectful interpretation places the mythical play in a poetic and playful universe, and in the early years of silent cinema. This time, they leave the red noses at home… but not their saltimbanco game. Roaringly so.Īfter 200 seat-filling shows in France and abroad of “ Dom Juan… and the Clowns” , an adaptation of the Molière classic directed by Irina Brook, Cie. Miranda dares to cross that threshold… and succeeds. But pure theatre that sets a play in the style of 1920s silent film, now that’s original – and even more so if the text at hand is Cyrano de Bergerac, Edmond Rostand’s undisputed king of French theatrical texts. Hybrids of theatre and cinema, mixing traditional stage acting and video, have become quite trendy lately. Think the most-performed play in French theatre history cannot possibly be reinterpreted? Théâtre de la Cité director Thierry Surace and his resident company prove otherwise.