It was all about the words. The original 1897 play by Edmond Rostand (no, we didn't do it at school and I can only vaguely remember a couple of movies) was all rhyming couplets of twelve syllables per line. No wonder this ultra modern adaptation by Martin Crimp leaves that behind. But he and director Jamie Lloyd totally respect the idea behind the original by using rhyme in a free verse rap style that I should have hated but came to love. In one scene someone slowly paints the backcloth, with something Cyrano could have told Roxanne, as she later stares at the message.
The essence of slam poetry is marked by the bare stage, hard chairs and microphones. The actors are also mic'd up, although at times their whispering that takes advantage of them is inaudible in the cinema I was in. However, the play in this version is challenging, dangerous and original. I do love the format of addressing the audience. One of the first times I saw it used was David Hare's The Permanent Way which was unforgettable.
James McAvoy is excellent in his highly physical portrayal of love struck Cyrano. I shouldn't have been surprised that this is basically a love story, but I was. At first I thought James was reprising his multi character role in the Split and Glass but that soon went away. The colour blind casting works exceptionally well, especially for those performing in that rap styles. Then we have Anita-Joy Uwajeh as Roxane. She seems to be the only one actor with a cut glass English accent, but more than that she is outstanding. The advantage of watching her close up at the cinema makes up for not being there. Her facial expressions, her eyes are incredible. This is a star in the making.
I also liked Michele Austin as Ragueneau who has appeared in so many TV programmes) and Eben Figueiredo as Christian. In the end it is Jamie Lloyds direction that gives this old play that modern drive. But it's the words that still count. As Cyrano finds to his cost.
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