Cyrano de Bergerac (Bantam Classics) (Bantam Classics) (alkuperäinen julkaisuvuosi 1897; vuoden 1959 painos)

Sembrerà forse retorica, ma credo esistano davvero libri che non possono esser recensiti, ma solo assaporati e personaggi che altro non possono diventare se non immortali. Il romanzo di Rostand è uno di questi libri. Cirano è uno di questi personaggi. ( )

H1.3.2

At the risk of sounding like a bit of a fool, I have to say that I was surprised at how much I enjoyed reading Edmond Rostand’s 1897 play Cyrano de Bergerac. The version of the play that I read was translated by Lowell Bair and first published by Signet Classics in 1972. My surprise came from not having particularly enjoyed either movie version of Cyrano that I’ve seen, and assuming that was the play’s fault rather than the fault of the two movies.

The unrealistic plot of Cyrano de Bergerac, as it turns out, is precisely what makes it so charming. Imagine what has to be the greatest swordsmen in French history (the play is set in 1640), a man who can write poetry aloud while in the midst of a swordfight for his very life. Such a man would be a romantic hero in any country of the period, but because Cyrano has also been blessed with one of the longest noses in French history, he is not exactly having to fight off the women.

Our hero is, in fact, madly in love with his first cousin, Roxanne. Roxanne, though, is the kind of woman who can only imagine herself ever falling in love with a handsome man – and in Cyrano’s friend Christian, she finds just what she is looking for. Unfortunately for Christian and Roxanne, Christian’s ability to creatively express his feelings is at the opposite end of the scale from his good looks. If Roxanne ever figures out just how dull-witted the man is, she is certain to ban him from her life. And that’s where Cyrano comes in.

Cyrano’s ability to write a love letter is exceeded only by his ability to kill eight or ten men in a single swordfight. Christian obviously needs help (probably in both areas), and Cyrano is willing to write his love letters as a way of himself staying close to Roxanne. The beautiful Roxanne, though, has attracted more than two suitors (even though she doesn’t even realize that Cyrano is one of them), and that complicates the plot considerably.

Cyrano de Bergerac is dramatic; it is funny; and its puns (especially those regarding Cyrano’s nose) are brilliant. The play’s final act is obviously overly-melodramatic, but actually, it’s really no less realistic than the rest of the play. The same theater-goers who laughed their way through most of the play probably never thought they would be leaving the theater in tears when the final curtain closed, but I’m willing to bet that’s exactly what happened to many of them. The fictional Cyrano de Bergerac is an unforgettable character, and even though the play’s author believed the play to be a literary disaster, it turned out to be the one that made him famous – and has kept him that way. ( )

2020 reread via full cast LATW audiobook (streamed from their website):
I think this reread was my 4th or 5th time. While I enjoyed it as always, this translation by Anthony Burgess wasn't the best one I have experienced. Or maybe it was the way the play was adapted by Barry Creyton... in any case, something about it was just not up to my expectations. However, the interview with Sue Lloyd, author of The Man Who Was Cyrano: A Life of Edmond Rostand, included at the conclusion of the play brings my rating up to 4.5*. I had no idea that Cyrano & Roxanne were historical figures from the 17th century! I had assumed that Rostand had made them up.

This recording has the following cast:
Caroline Aaron as Lise/Mother Marguerite
Hugo Armstrong as Le Bret
Kalen Harriman as Foodseller/Others
Gregory Itzin as Comte De Guiche
Hamish Linklater as Cyrano
Anna Mathias as Duenna/Others
Morgan Ritchie as Valvert/Bellerose/Others
Jason Ritter as Christian
André Sogliuzzo as Ragueneau/Ligniere/Others
Devon Sorvari as Roxane
Matthew Wolf as Cuigy/Others ( )

This is a review of two full-cast audio productions: Caedmon 1965, and LA Theatre Works 2015. Cyrano de Bergerac is an 1897 neo-romantic heroic-comedy by a 29-year-old French playwright, characterized by witty dialogue and the concept of panache. It is based on two real people from the 17th century. Cyrano de Bergerac actually existed sans the big nose, but was indeed a poetic warrior and charmer. Roxane was also a lover of poetry and Chivalric love. The era when the play was released, realism was making inroads and most plays were heavy, dark, somewhat depressing. Into this atmosphere stepped a lighthearted and witty story that made no sacrifice to realism. It was an immediate and stunning success striking a chord with the French people who appreciated the glory of French Chivalry framed in a way that was acceptable (humor) and admirable. It is also a classic love story ensuring enduring appeal.

The 3-record Caedmon production stars Sir Ralph Richardson and was produced by The Theatre Recording Society with a translation by Brian Hooker. It is a faithful translation of the original French text, and therein is the problem - it is hard to follow, at least in audio and for a first-timer to the story. This is not the best introduction, but it is close to the original.

The LA Theatre Works radio play is based on the translation and adaption by Anthony Burgess which was then adapted for radio. This is an excellent introduction, there is no problem following the plot, characters and dialogue. The radio adaptation is about half the length of the Hooker version so a lot has been dropped but all the scenes are there and it retains the same spirit of the original. ( )