The translation’s the thing, but far from the only thing that makes Pasadena Playhouse’s dazzling staging of Martin Crimp’s “free adaptation” of Edmond Rostand’s French classic Cyrano de Bergerac the latest Pasadena Playhouse winner.

To begin with, it’s rare that Angelinos even get to see the 1897 classic live on stage, let alone in a production as exciting as this one. (If there’s been a major L.A.-area revival since the Richard Chamberlain starred as Cyrano at the Ahmanson back in 1983, I’m not aware of it.)

And even when revived somewhere or other in the U.S., I’m guessing that most if not all revivals feature a translation that adheres closely to the French original in both style and 17th-century setting.

Not so Cyrano à la Martin Crimp, whose looser-than-loose translation is about as contemporary-sounding as translations get, albeit written à la Rostand in clever if almost imperceptible rhyming couplets.

Take for instance the way Crimp’s translation describes the play’s three leads. (“Cyrano is like all time crazy genius of the spoken word.” “Christian’s like your alpha-male-type ultra military man.” “Roxane’s a super-bright girl, she’s totally cool, man.”)

There’s nothing at all “period” about that, which is why even if you’ve seen Cyrano performed before, you’ll probably feel as if you’re seeing it for the very first time.

And if, like me, this is the very first time you’re seeing the Rostand classic, you just might well assume it’s a 21st-century original.

Most theatergoers are probably aware of the play’s central conceit, that the humongous-nosed Cyrano (Chukwudi Iwuji) is persuaded by the handsome but verbally challenged Christian (Will Hochman) to write letters in Christian’s name to Roxane (Rosa Salazar), the drop-dead gorgeous object of both men’s affections.

Perhaps not surprisingly, complications ensue, in particular those engendered by power-wielding nobleman De Guiche (Michael Nathanson), who wants to capture the captivating Roxane for himself and will go to any lengths to possess her, even if it means sending Cyrano and Christian to their certain deaths in battle.

Completing the cast of principle characters are flamboyant poet Lignière (Larry Powell), our emcee for the evening, and Madame Ragueneau (Kimberly Scott), the poetry aficionado owner of the Café/Bar/Bookshop/Cake-Shop where Christian confesses to Cyrano his love for Roxane and exacts a promise from his proboscis-cursed friend to compose a letter that will bowl her over with its eloquence.

Director Mike Donahue takes all of the above elements, and working in tandem with an all-around spectacular design team, creates a production that is as stunning to look at as it is thrilling to experience.

 Delivering what is sure to be remembered as one of the year’s most compelling, charismatic, ultimately devastating star turns, Iwuji proves you don’t need a fake shnozola to convince an audience that you are Cyrano.

Salazar is not only the “icon of totally transcendent beauty” described by Lignière but a powerhouse actor. (Her final scene with Cyrano is an acting showcase for both Iwuji and Salazar if there ever was one.)

Hochman is dashing perfection as Christian, Scott a force of nature as Madame Ragueneau, and Powell the most scene-stealing of scene-stealers as Lignière.

Aaron Costa Ganis (as Cyrano’s supportive but tell-it-like-it-is bff Le Bret) and Nathanson (as the villainous, vengeful De Guiche) do standout work too, with Sawyer Patterson’s Valvert proving himself an expert swordsman (as is Iwuji) in the duet’s pulse-pounding, intricately choreographed (by Rachel Lee Flesher) duel.

Indeed there’s not a weak link in an all-around sensational cast completed by Jens Ausin Astrup, E.M. Davis, Christine Lin, Barry Livingston, Kila Packett, Jonathan Slavin, and John Garet Stoker in multiple roles each, the number of players (15 ethically diverse actors in all) proving that when other regional theaters go cautiously small, Pasadena Playhouse goes daringly big.

Production stills accompanying this review reveal the stunning design contributions of Afsoon Pajoufar (set), Carolyn Mazuca (costumes), and Josh Epstein and Edward Hansen (lighting), and Veronika Vorel’s sound design is every bit as striking.

Flesher is intimacy coordinator. Christine Adaire is voice/text coach. Casting is by Ryan Bernard Tymensky, CSA. Colleen Danaher is stage manager. Davidson & Choi Publicity is publicist.

It’s been nearly a decade since Pasadena Playhouse staged anything approaching Cyrano de Bergerac in age (that was George Bernard Shaw’s 1913 classic Pygmalion in 2015), but don’t let the fact that Cyrano is getting on in years put you off from a September visit to the Playhouse.

As very “freely adapted” by Martin Crimp and performed by the finest acting ensemble in town, this Cyrano de Bergerac is a late-summer must-see.

Pasadena Playhouse, 39 South El Molino Ave., Pasadena.
www.pasadenaplayhouse.org

–Steven Stanley
September 8, 2024
Photos: Jeff Lorch

Tags: Edmond Rostand, Los Angeles Theater Review, Martin Crimp, Pasadena Playhouse