Review: Cyrano de Bergerac (Noel Coward Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

The Royal Shakespeare Company has an incredibly strong reputation, as it should, with a reliable quality to be expected when you see any of their productions. However, they seem to be exceeding even their own impossibly high standards of late by putting on some fantastic programming. Sadly, it's not often I get the chance to go to Stratford-upon-Avon to see the shows there for myself, but luckily, I have a reviewer on here who covers the majority of shows there. When he cited Cyrano de Bergerac as his favourite play of last year, my interest was piqued. Thankfully, the RSC have had many of its productions receive West End transfers, and when one was announced for this, I wasted no time in making sure I caught it for myself, even in the busiest of weeks for new show openings. Where our opinions haven’t always aligned in the past, would I find him to be on the nose this time and fall in love with this show for myself?

The original play of Cyrano de Bergerac was written in 1897, based on the life of the 17th-century writer. It has been the subject of many adaptations in the years since across stage and screen, with this latest interpretation premiering at the RSC last year. The title of the play refers to an intensely romantic man. He has a way with words like no other and is just as sharp with a sword, too, making it nearly impossible for anyone who attempts to duel with him, be it verbally or physically, to come out on top. He is also deeply self-conscious about his appearance due to the size of his nose, which prevents him from confessing his true feelings for the object of his affections, Roxanne. When she reveals her feelings for Christian - a handsome man who is hopeless with words, Cyrano takes it upon himself to make up for Christian’s shortcomings and provide the words for him. With Roxanne feeling hopelessly in love, will she ever discover who she has actually fallen in love with, or will this be one romance with a tragic ending?

While the bones of the story remain in this new version, and anyone who has seen any version of the story in the past will feel comfort in the familiarity of it all, Cyrano de Bergerac isn’t afraid to make bold and daring choices. Part of that is courtesy of co-adaptor, Debris Stevenson, a famed poet who brings a rhyme and rhythm to the story that feels true to the poetic nature of the character.  The authenticity she brings to the writing doesn’t merely impress but absolutely astonishes. With the detailed and different way each character has their own rhythm of speaking (making a fantastic read in the programme once you have seen the show), to the complex and creative way Cyrano speaks himself, the marriage between his character and Stevenson’s poetry is nothing short of miraculous. The bar is set early on with Cyrano’s retort to a rather crude comment about his nose - I won’t spoil exactly what follows, but it ranks as one of the most impressive spouts of dialogue I have ever witnessed, earning a rapturous applause upon its conclusion. The wordplay continues throughout, with games played by Cyrano and Roxanne as well as a variety of styles used. Bringing Stevenson in for this production was a genius move, and one that has paid off in the best way possible.

One of the key elements to the success of this production is Simon Evans. Acting as co-adaptor and director, his vision is incredibly realised to create one of the most remarkable productions I have seen all year. While some plays like to reel the audience in slowly, Cyrano de Bergerac comes in all guns blazing with an unconventional opening that offers something different and lets the audience know they are in for one rollercoaster ride, and to essentially expect the unexpected. Breaking the fourth wall, cast members roam throughout the audience, house lights stay on, and the audience is even told to stand early on.  It feels very daring in its different approach, but that is part of its charm. Evans has come up with something so distinct that the result isn’t just a version of Cyrano like you have never seen before, it is also theatre like you’ve never seen before.

As the play starts to behave more conventionally, the creativity in Evans’ choices never ceases, with every inspired choice more audacious than the last - these are not small choices; these are huge swings at times, miraculously never missing. Honestly, I am hard-pressed to think of the last time I was blown away with such visionary direction as I was watching this. Be it the use of music (with credit to composer Alex Baranowski) forming a huge part of the story, the beautiful scene changes or the importance of the little boy that stalks the action, every single element of this production proved utterly faultless, wowing me at every turn.

Evans clearly knew the response he wanted from the audience at any given moment, and this perfect intuition allowed for the heart and humanity of the story to penetrate effortlessly. There were big laughs to be found throughout, but the core message at the heart of the story remained inspiring, never mocked. What I found surprising was how much the end of the play moved me, given how much I had been smiling and laughing for the hours previously. Beautifully done and heartwrenching to watch unfold, it taps into the true essence of the story, becoming desperately romantic even in the face of tragedy. It has been a while since a play has reduced me to tears, but I found myself tearing up several times as I watched the poignant and powerful climax.

Cyrano may lack confidence when it comes to his looks, but the same cannot be said for the aesthetic of this production, with stunning design to be found at every turn. Grace Smart’s set design beautifully captures the mood, showcasing extreme versatility as it transforms to settings worlds away from each other. Its biggest strength is in its final reveal, which I won’t spoil, but is exceptionally realised. Joshie Harriette’s lighting is similarly impressive, matching the creative and unconventional approach of Evans’ direction by bringing the house lights on suddenly, shining a spotlight into a random part of the audience, or simply bringing some breathtaking beauty to the stage. Donato Wharton ensures everything always sounds as gorgeous as it looks, with a special mention needing to go to Fight and intimacy director Bethan Clark, whose work here is glorious to watch, particularly in an incredible fight that takes place early in the play.

There is one other factor that makes Cyrano de Bergerac one of the must-see plays of the year, and that is Cyrano himself. Adrian Lester is a remarkable actor, and what he does in the title role here is nothing short of miraculous. At times, cheeky yet always captivating, Lester is truly magnificent in the role, always thrilling with his words and unrivalled stage presence. The way he carries himself sets him apart from many of his contemporaries, with such versatility and strength in his performance, showcasing impressive physicality and using every bit of vocal talent he has. If Lester needs to nail the comic timing, he will certainly nail it. Similarly, if the situation calls for him to pack an emotional punch, you can bet it is going to land in such a way that it will knock you off your feet. Knowing that Lester was involved in the creative process with Evans and Stevenson is part of what makes his portrayal all the more authentic, showcasing what can be achieved through great collaboration in theatre. Here, three titans have come up with pure gold, and that is demonstrated in Adrian Lester’s performance. What he does in this production is nothing short of spectacular in what is easily one of the strongest performances I have seen in a while, and one that should easily earn him an Olivier nomination next year.

It isn’t just Lester that shines in the cast, however. In fact, the whole cast is pretty glorious themselves. Susannah Fielding is a delight as Roxanne, offering an initially playful, sometimes resilient and occasionally sorrowful characterisation that ensured the audience fell in love with her just as much as the two men in the play do. Her other lover, Christian, is wonderfully played by Levi Brown, offering the perfect counter to Lester’s Cyrano with youthful innocence and even naivety, leading to a sweet and charismatic turn. Scott Handy is another highlight as Comte de Guiche, with an understated delivery that cuts through the bravado that can often be found in the play, while Greer Dale-Foulkes and Sunny Chung both get standout comedic moments throughout.

It is often hard to go into a play with such high expectations after people have told you how incredible something is going to be. Sometimes, that sets it up to fail, with it proving tricky to live up to those impossibly high expectations. However, when you have a play as faultless and impressive as Cyrano de Bergerac, there isn’t a risk of that. It has been a while since I have left a theatre feeling as overwhelmed and utterly satisfied as I did here - this is the perfect example of theatre, and what theatre should be in 2026. Beautifully balancing the familiar and safety with the bold and daring choices found throughout, the result is absolutely magnificent, and a real must-see. What Simon Evans and Debris Stevenson have created here is nothing short of spectacular, with Adrian Lester’s leading turn delivering a performance for the ages. Trust me when I say this is one play you will have no problem falling in love with.

Cyrano de Bergerac plays at the Noel Coward Theatre until 5th September. Get tickets from £15 at https://allthatdazzles.londontheatredirect.com/play/cyrano-de-bergerac-tickets

Photos by Marc Brenner