Venue: Seymour Centre (Chippendale NSW), Jun 15 – 24, 2017
Playwright: Edmond Rostand (adaptation by Damien Ryan)
Director: Damien Ryan
Cast: Andrew Johnston, Barry French, Bernadette Ryan, Christopher Stalley, Christopher Tomkinson, Damien Ryan, Drew Livingston, Francesca Savige, James Lugton, John Turnbull, Julian Garner, Lizzie Schebesta, Madeleine Jones, Melanie Dobson, Thom Blake, Tim Walter, Wendy Strehlow
Image by Phil Erbacher
Women, no matter how intellectual or beautiful, are not to be trusted with their own decisions in Cyrano De Bergerac. Edward Rostand’s 120 year-old play is a romantic fantasy about an ugly man who successfully deceives and misleads the object of his desire, so that his feelings can be reciprocated. His nose, of legendary proportions, clearly does not stand in the way of human vanity.
Roxanne’s lust for the handsome Christian, is presented as foolish and absurd, hence illegitimate, in the old-fashioned play, because of course, the verbosely articulate Cyrano is the appropriate match, if a girl is to experience true love. Women are once again infantilised, and our sexuality subjugated, in order that patriarchal ideals can be presented as superior.
Tiresome ideologies of the original are retained in this recent adaptation, but there is no doubt that Damien Ryan’s remarkable wit and extraordinary talent with words, have polished up Cyrano De Bergerac, rolled it in glitter, and all but blinds us from its inferior politics. Ryan’s work is supremely clever, often very beautiful, and for the many who find enjoyment in its brand of outlandish romance, this is a play that will prove deeply satisfying.
Ryan’s work as actor too, is marvellous. Brilliantly funny, and irresistibly charming, he convinces us that sexual attractiveness is completely irrelevant, and that Cyrano is the only man for Roxanne. Lizzie Schebesta expends her efforts into the side of Roxanne that is repeatedly emphasised to be intellectual, and does all she can to elevate the role from the embarrassing gullibility that is Rostand’s creation. It is a very vivacious cast, relentlessly amusing, and audiences will be held captive for its entire 3.5 hour duration.
There are no big pertinent messages in Cyrano De Bergerac that need our urgent attention. We can certainly be entertained by other much more relevant stories, but this French play continues the perseverate tradition of European occupation of the arts in Australia. For over two centuries, we import these works, as though the purposes they serve are somehow irreplaceable or worse, more resonant than what we can find in the art of our own region. It offers an accurate reflection of the ongoing attitude of colonisation that persists (why else would all 18 actors on this stage be of Caucasian appearance?), even though we wish to think ourselves a modern, progressive and inclusive society.