PLAYWRIGHT MARTIN CRIMP HAS A NOSE FOR UPDATES

Martin Crimp’s Cyrano at the Pasadena Playhouse is nothing short of theatrical alchemy. This bold reimagining of Edmond Rostand’s beloved classic breathes new life into an age-old tale, cleverly intertwining the timeless themes of love, identity, and self-worth with a distinctly modern sensibility. Crimp’s adaptation, first brought to life in 2019, deftly walks the tightrope between homage and reinvention, offering a nuanced look at the human condition that feels utterly relevant in today’s world.

The production, under the inspired direction of Mike Donaghue, does not merely pay tribute to the original. Instead, it shatters the romanticized image of Cyrano de Bergerac, presenting a man who, while still eloquent and brave, is burdened with insecurities that resonate deeply with contemporary audiences. Gone is the swashbuckling hero we once knew’”this Cyrano is raw, vulnerable, and desperately grappling with the paradoxes of his own identity.

Will Hochman, Rosa Salazar and Chukwudi Iwuji

Rostand’s classic play follows the unrequited love of Cyrano for his childhood friend, Roxane. At the end of scene one,  she  asks for a private meeting  with Cyrano, who,  beside himself,  anticipates  her  acknowledgment of love,  his  dream come true.  But  instead, the love she confesses is for the young handsome Christian, a newly arrived  soldier in  Cyrano’s  regiment.  Not only does she want an introduction, but also  to keep  him safe.  With  heartache,  Cyrano  devises a plan to make her coupling  wish  come true,  content to  witness her enraptured happiness over his own by writing love letters to her disguised as Christian.

Chukwudi Iwuji

Chukwudi Iwuji, a veteran of Shakespearean stage and more recently known for his roles in Hollywood blockbusters, steps into the titular role with stunning gravitas. His portrayal pairs the bravado typically associated with Cyrano adding the festering psychic world underneath. Iwuji’s return to the stage after six years away feels nothing short of triumphant, reminding us of his place among the finest classical English actors working today. With every word, every movement, Iwuji captivates, his performance becoming the emotional core of the production.

Chukwudi Iwuji and Cast

The rest of the cast rises to the occasion as well. Rosa Salazar, primarily known for her work on screen, proves to be a revelation on stage as Roxane. She imbues the character with a rich complexity, transforming Roxane from the object of Cyrano’s affection into a fully realized woman with her own set of desires and insecurities. This Roxane is no mere prize; she is a layered individual wrestling with her own ideals of love and beauty. Broadway’s Will Hochman brings warmth and humor to Christian, while Michael Nathanson delights as the pompous De Guice. Special mention must also go to Jonathan Slavin, whose portrayal of a dreadful Shakespearean actor is a comedic high point.

Chukwudi Iwuji and Sawyer Patterson

Afsoon Pajoufar’s scenic design plunges the audience into a visually arresting, postmodern world. The minimalist set, dominated by industrial lights that tower like mechanical sunflowers over a lime-green stage, constantly reminds us of the artifice of theatre itself. This deliberate Brechtian alienation draws us into the characters’ inner worlds, urging us to confront the uncomfortable truths they face rather than lose ourselves in escapism. The stark lighting, designed by Josh Epstein and Edward Hansen, further heightens the emotional stakes, casting long shadows over the characters’ internal struggles.

Rosa Salazar and Chukwudi Iwuji

The dialogue, updated with Crimp’s sharp, contemporary wit, snaps with intensity, reimagining Rostand’s poetic exchanges through a modern, at times profane, lens. The language feels fresh and alive, a perfect match for the conflicted souls at the heart of the play. Crimp’s adaptation, more than just a retelling, becomes a dialogue between past and present, asking timeless questions about identity, self-worth, and the masks we wear for others.

Will Hochman and Chukwudi Iwuji

What makes this production truly exceptional is Donaghue’s ability to balance the intellectual with the visceral. His direction creates moments of breathtaking intimacy, none more powerful than the scene where Cyrano, speaking as Christian, whispers into Roxane’s ear. It’s a moment charged with eroticism and vulnerability, reminding us of the complex interplay between love, language, and identity.

I would like to note that this production of Cyrano is not recommended for audiences seeking a traditional production of the original 1897 Cyrano script. With its modern sensibilities and intellectual depth, Crimp’s adaptation leans heavily into postmodern themes and a more analytical exploration of identity and isn’t suitable for audiences who aren’t looking for a cerebral night at the theatre.

For this reviewer, this Cyrano proved to be a triumph, a daring and insightful reimagining of a classic that feels startlingly new. Crimp’s vision, brought to life by a cast at the top of their game, challenges us to reconsider not just who Cyrano is, but who we are as well. In a world obsessed with surfaces, this production peels back the layers, revealing the messy, beautiful truths underneath. The Pasadena Playhouse has, once again, proven itself a home for daring, thought-provoking theatre that lingers long after the curtain falls.

photos by  Jeff Lorch

Cyrano de Bergerac
Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena
Wed & Fri at 8; Thurs at 7; Sat at 2 & 8; Sun at 2; Tues at 8 (Sept. 17); Sun at 7 (Sept. 29)
ends on September 29, 2024
for tickets (starting at $40), call 626.356.7529 or visit  Pasadena Playhouse