He acted the nose – well of course he did…
Just back from Cyrano de Bergerac at The Playhouse.
This is the French Theatre’s ‘Macbeth’ – a sure fire winner and seat filler – since its premier in 1897 when the applause lasted an hour after the curtain fell!
This version (very much ‘starring’ James McAvoy) is a modern take – no 17th Century costumes, or even a false nose. Indeed, with a bare set (bar a few plastic chairs) and the cast present on stage through much of the play, this is Rostand as seen through the eyes of Brecht – and actually, and to my surprise, none the worse for that.
The ‘antique’ rhyming couplets are kept, if updated to their modern heir, rap, on occasion, and whilst there are many modern references inserted, particularly at the more ‘woke’ end, these at least are in the spirit of Rostand interpreting mid 17th century France into late 19th Century sensibilities.
This honours Rostand even where it doesn’t slavishly follow him. And in some instances (the nose insult duel) it follows him closely.
Does McAvoy deliver against the promise of his stage door Jillies, queuing every night for autographs, and his rave reviews – well yes, and frequently triumphantly.
The measure of this is that, in the end, he didn’t have to wear an extravagant nose – he acted one. We didn't get an hour of applause, but the 80%+ standing ovation was well-earned.