CYRANO GETS A CONFUSING NOSE JOB
Why anyone involved in Los Altos Stage Company’s current production of Cyrano thought it would be a good idea to make Cyrano a woman—and without the trademark large proboscis at that—is a bit of a mystery.
Cyrano de Bergerac remains a beloved staple of the stage, loosely based on the real-life 17th-century duelist-poet who famously wielded both a sharp sword and an even sharper wit. Over the years, countless adaptations—some rhymed, some in blank verse—have tackled Edmond Rostand’s 1897 play. Now comes a “new adaptation” that swaps genders, tweaks characters, and updates the language in an effort to give this 1640-set story a modern edge.
Maria Giere Marquis as Cyrano and Vivienne Truong as Roxane
This version by Max Tachis and Jeffrey Lo (whose world premiere of Writing Fragments Home is on at Hillbarn) offers a few things to recommend it—including several strong performances—but it’s also oddly slow-moving. The constant “in-and-out” of set changes, curtain drops, and entrances and exits creates a jarring rhythm, which only adds to the general confusion of a reimagined plot already full of new elements.
That said, Mr. Tachis, as director, has assembled a solid cast. Vivienne Truong is a luminous Roxane, Cyrano’s love interest, and whenever she’s onstage, the energy lifts. Jonathan Covey is equally compelling as Christian, the tongue-tied romantic, though his best moments, of course, come when speaking the words of Cyrano, who courts Roxane via poetic missives through Christian. As Cyrano, Maria Giere Marquis has the gravitas to hold the production together, though it’s unclear why she spends a key scene standing alone in the dark offstage—it feels more like a staging hiccup than an artistic choice.
Vivienne Truong as Roxane and Jonathan Covey as Christian
The heart and humor of Rostand’s love triangle still beat underneath this reimagining, but some of the liberties taken with the story result in confusion and a sluggish pace. A new four-person ensemble functions as a kind of Greek chorus, chiming in with sardonic commentary. Brittney Mignano stands out here, channeling a permanently disgruntled reporter vibe. Jeremy Ryan is sweetly memorable as Montfleury/Ragueneau, the poet-chef who dishes out snacks for the cast—yes, actual food—which adds a nice touch of realism. Lisa Burton Guevara plays Diana, who usually has a look of dislike and distrust whenever Cyrano and Roxane are around, but suddenly gets all aflutter whenever Ragueneau approaches.
Gabriella Goldstein plays the Countess de Guiche with a satisfying arc, evolving from subservient wife to independent force, offering a sympathetic courageous counterpoint in Act Two. Emery Mulligan, as her corrupt husband, Count de Guiche (Emery Mullligan), makes for a fittingly pompous foil. Zachary Vaughn-Munck, listed simply as “Ensemble,” deserves special mention for his many humorous asides and his turn as a town crier spouting fake news that the Count loves to hear. His timing and tone are reliably funny.
There are a number of big battles with various enemy armies, but none are shown here. Instead, Cyrano and many of the other characters dart behind the back curtain, but do not return. Costume designer Lisa Claybaugh delivers beautiful gowns for the women—especially Roxane—and some elegant menswear as well (Covey’s outfits are standouts). Lighting designer Carol Fischer adds intrigue with theatrical flourishes, including a giant illuminated “C” that greets the audience on entry and drifting lights that give the stage a dreamlike quality. Sound designer Connor Diaz ensures most lines land clearly.
This Cyrano may not be for purists, but it certainly tries to carve its own path. It just might need a little less invention and a bit more clarity to fully connect.
photos by Evelyn Huynh
Cyrano
Los Altos Stage Company
Bus Barn Theater, 97 Hillview Ave. in Los Altos
Wed-Sat at 8; Sun at 3
ends on May 4, 2025
for tickets ($28-$51), call 650.941.0551 or visit Los Altos Stage Co.
