Any expectations I may have had about what to expect from James McAvoy’s return to the Glasgow stage in Cyrano de Bergerac were thrown out the window in seconds.
I had known it would be a contemporary version of the Edmond Rostand classic, about the poet with a large nose, who is obsessed with a woman, Roxane.
An updated version of this love story is, of course, nothing new, since Steve Martin played firechief C.D. Bales in the 1987 movie Roxanne, with Daryl Hannah as the titular character, and Rick Rossovich as her hapless suitor Chris.
The set was minimal and stark as the curtain rises on Martin Crimp’s new version – a wooden box framed the stage, and we encounter the cast, as the back of the box was removed, and we see, at the rear of the stage, McAvoy, sat in front of a mirror.
But then, as the production began, the realisation that this was an even more radical retelling of the story dropped.
Vaneeka Dadhria started to beatbox, creating the show’s atmosphere, and she remained throughout, popping up to add to moments of tension.
When the cast began to converse, it was in rhyme, but perhaps not in the manner which many had expected. Here, the discussions between the characters seemed more like rap battles, or poetry duels, the latter of which Cyrano excelled at.
McAvoy’s presence once he became involved with proceedings was huge. It was hard not to observe him throughout, even when other characters were talking, and he showed a grasp of gymnastic vocabulary to be able to get his tongue around his dialogue – a major change to his roles in the fantasy and science fiction films to which we have become accustomed to see him.
Evelyn Miller (Roxane) and James McAvoy (Cyrano de Bergerac). (Photo: Marc Brenner)
He delivered it all with relish, particularly enhancing his natural Glaswegian accent, which went down well with the audience. At times, he seemed to channel Sean Connery, at others, Ewan MacGregor, and he drew his biggest laughs when performing his dialogue in the style of a Glasgow ned.
It should be stressed, however, that McAvoy does not don a prosthetic nasal attachment, as it’s all left very much to the imagination.
But this is not just about James McAvoy, as he is surrounded by a cast of talented young actors, all of whom bring huge charisma and fun to the stage.
Evelyn Miller as Roxane was an impressive female lead – her stature drew the eye, with a clever, subtle physical performance, as she pined for his supposed love, Christian.
Eben Figueiredo had the difficult role of Christian to play – he is clearly an intelligent performer, playing the part akin to a London street gang member, and apparently of limited intelligence, but he was an engaging likeable rogue.
McAvoy and Figueiredo build a good rapport, especially when Christian is trying to woo Roxanne through a window, but his ineptitude results in her almost rejecting him. At this point, McAvoy steps in with an impressive turn, giving it his best London rapper. This is the scene I most remember from the 1987 production, which is slyly acknowledged by James when he says it reminds them of a Steve Martin film.
Eben Figueiredo (Christian) and James McAvoy (Cyrano de Bergerac). (Photo: Marc Brenner)
Christian’s companion, Ligniere (Nima Taleghani) captured the street feel too, and displayed some neat artistic skills in the background of the first act, creating street art on the rear wall – and if you can work out what it says before he’s finished, then you’re doing well.
This is an utterly contemporary production, and it’s no wonder the production received critical acclaim at the Playhouse Theatre, London in 2019. It takes a traditional story and gives it a modern twist, which will bring it to the attention of a new audience who may not know of the original story, and McAvoy’s presence may well have brought people who may not normally attend the theatre into the building. That can only be a good thing.
Jamie Lloyd’s direction has produced an electrifying ensemble which hits the eyes and ears – three times, the theatre was plunged into total darkness, creating an entirely different theatrical experience from that which many were expecting.
Cyrano de Bergerac has returned for a strictly limited season.
Theatre Royal, Glasgow is one of only three venues worldwide to host the production, alongside The Harold Pinter Theatre in London and the Brooklyn Academy of Music, New York.
The production is completely sold out – and it’s no wonder why.
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