Cyrano de Bergerac
The Swan Theatre, Stratford-upon-Avon
★★★★★

WITH numerous stage and film versions, it is not difficult to understand the enduring success of Edmund Rostand’s 1892 play recounting a fictionalised version of the life of the 17th century French playwright-soldier who, in fact, never sported the over-large proboscis which provides the focus of interest in the comedy.

Part romantic comedy, part boy’s own adventure tale, this pantomime for adults is essentially a vehicle for the actor playing the eponymous hero, with the face that launched a thousand sniffs! Here, the RSC have scored a bullseye. Amazingly, given the infrequency of major actors appearing these days at Stratford, Adrian Lester makes his debut appearance for the company.

Lester — to use an appropriate theatrical phrase — commands the stage throughout as the swashbuckling hero. His swordsmanship is only equalled by his poetic skills, finally dispatching with panache (a term originating from Rostand’s play) an opponent who has dared to comment on his nose — “It’s fucking huge” — by creating an acrostic from the phrase, delivered as they fight.

The problem is that while he thinks nothing of taking on a hundred at a time, his embarrassment at his appearance makes it impossible for him to have any hope that his beloved Roxane can even be approached. When she asks for his help in protecting Christian, a young, handsome recruit to his platoon of musketeers whom she has fallen for, he finds himself writing the love letters to her from the inarticulate lover.

Director Simon Evans along with Debris Stevenson have produced a new version which recognises that at the centre of the drama it is language itself at stake. Rostand’s play was written in verse and, according to the programme, they have concentrated on giving each of the characters their own linguistic rhythm. This may not register with audiences consciously, but it certainly makes all the main players in the game more distinctive than the simple plot usually allows.

Apart from Lester’s outstanding performance, Susannah Fielding’s Roxane is credibly enraptured by Christian’s borrowed language, only finally realising that she has fallen in love with the words and their maker. Meanwhile, Levi Brown, her tongue-tied wooer, can’t wait for the lyricism to give way to more practical love-making.

Problems ensue!

Alex Baranowski’s music provides an enveloping atmospheric presence. Cyrano is often accompanied by his own instrumental trio, just as he is also accompanied at key moments by an enigmatic small boy cavalier — his life spirit?

The play even survives its hugely sentimental finale in a production well-deserving the inevitable press night standing ovation. It will undoubtedly receive more. After all, this is theatre which, as one character remarks, keeps our minds off war!

Runs until November 15. Box office: 01789 331-111, rsc.org.uk.