Edmond de Bergerac at Richmond Theatre review ****

Edmond de Bergerac

Richmond Theatre, 1st May 2019

Alexis Michalik is a loving looking chap. Oozes Gallic charm. The wunderkind of French theatre. So its good to know he is half-British. He kicked off as an actor but it is his plays, which have run to packed houses in Paris and beyond, and garnered multiple awards (5 Molieres for Edmond), which he directs himself, that have turned him into a star. First Le Porteur d’Histoire, then Le Cercle des Illusionnistes, most recently Intra Muros, which was adapted in English at the Park Theatre recently (though didn’t get great reviews). His most famous play though is Edmond which appeared in 2016, a theatrical paean to the creator of Cyrano de Bergerac, Edmond Rostand, and already made into a film.

Cyrano is the most performed play in the French language. A massive hit when it hit Paris in 1897, a broad fictionalisation of a real life nobleman, novelist, playwright, epistolarian and duelist in C17 France (1619-1655), written entirely in classical alexandrine verse (12 syllables per line) and about the most uplifting love story you are ever likely to see. Apparently the curtain call on the first night went on for over an hour and the French Foreign Minister emerged from the audience to go backstage and pin the Legion D’Honneur on Rostand there and then.

Cyrano regularly gets an airing in British theatres, luvvies love it, usually in Anthony Burgess’s wonderful translation, and you may well know know it from the film adaptations, either the faithful French classic version from 1990 starring Gerard Depardieu and directed by Jean-Paul Rappeneau (there were others before this) or the rather freer 1987 interpretation Roxanne starring Steve Martin and directed by the underrated Aussie director Fred Schepisi.

If it you have never seen a version you are probably aware of Cyrano’s defining feature, to wit, his huge nose. This is what prevents him wooing his beautiful cousin Roxane who he adores. When he befriends the handsome but inarticulate Christian, who also falls for Roxane’s charms, he sees a way to woo her vicariously with his exquisite love poetry. It works, Roxane and Christian are secretly engaged, but there love in turn attracts the wrath of yet another suitor, the Comte de Guiche who sends the lads off to the brutal war with the Spanish. Cyrano, on Christian’s behalf, but unbeknownst to him, writes to Roxane every day though and eventually Roxane comes to the front. She loves the poet and Christian realising the pretence asks Cyrano to confront Roxane and explain. He doesn’t drop his mate in it though, Christian is killed in battle, Cyrano sees off the Spanish.

Over the next 14 years, Cyrano, now a satirist, visits Roxane every day in the convent she has holed up in mourning Christian. Finally, after sustaining a head wound, he arrives late and faints. Roxane asks him to read one of “Christian’s letters” but in the dark he recites in from memory. He dies. Roxane realises her true love. Cue tears. At least for the Tourist (and not in the Steve Martin version). You would have to be made of stone not to get caught up in this.

Now that is actually the film plot, there’s a bit more to the play, but that’s the gist of it. Except, of course, the plot is turned into something transcendent by the verse. Can’t speak French but Anthony Burgess, albeit with what apparently is know as a “sprung” rhythm, is faithful to Rostand’s intention.

It is on the French language curriculum and is regularly revived in France so Alexis Michalik was taking a bit of a risk with his text. a bit like Tom Stoppard and Marc Norman with their script for Shakespeare in Love the 1998 Oscar winning film starring Joseph Fiennes, Gwyneth Paltrow and Judi Dench, directed by John Madden. Like SIL, Edmond, (de Bergerac here to avoid confusion with a David Mamet film), mixes the “real life” business of putting on a play with the plot of the play itself, in this case just the one play though.

Edmond Rostand (here Freddie Fox) is a failing twenty something poet, playwright and dreamer drawing his sorrows in drink with beau monde, womanising mate Leo (Robin Morrissey). Steadfast wife Rosemonde (Sarah Ridgeway) is on his case to provide for her and his two kids. In desperation he pitches an idea to the famous actor Constant Coquelin (Henry Goodman); an heroic comedy, based on the life of Cyrano de Bergerac, for the Christmas slot. Only problem. He hasn’t written anything. Still, the legendary Sarah Bernhardt (Josie Lawrence) believes in Edmond, and the services of diva Maria Legault (Chizzy Akudolu) to star in the play are secured. A couple of wide-boy Corsican producer/gangsters, the Floury brothers, step in with the cash (Nick Cavaliere and Simon Gregor) and, always at the last minute, Edmond delivers his three, then four, then five, act masterpiece.

We meet the prim Georges Feydeau (David Langham), Rostand’s rival and the master of farce, the philosophising Monsieur Honore (Delroy Atkinson) owner of the bar, where, along with the Palais Royal theatre, and the Rostand house, the bulk of the scenes are set, Jean (Harry Kershaw), M. Coquelin’s beloved son, would be pastry chef and terrible actor, and Jeanne (Gina Bramhill), the wardrobe mistress and saviour of the premiere who captures Leo’s heart, aided, of course, by Edmond’s words. Which are, you guessed it, what gets Rostand’s creative juices flowing when to comes to writing the play.

Many of the cast take on multiple other roles, we even meet Maurice Ravel and Anton Chekhov at one point, in the quick-fire and frenetic scenes. Movement director Liam Steel, in this production from the Birmingham Rep does an outstanding job, alongside director Roxana Gilbert in marshalling all this activity. Edmond de Rostand is not pure farce or musical but at times it looks like it. The plot is cleverly constructed, if a bit baggy, drifting in and out of the plot of Cyrano itself, the cast give their all and the set that Robert Innes Hopkins has created is brilliantly versatile allowing the sevens to shift rapidly with no loss of momentum.

I think it may have left some of the Richmond Theatre midweek matinee audience a bit nonplussed but that wouldn’t be the first time. For me, and I hope the audiences at the Birmingham Rep, York Grand Opera House, Royal and Derngate Northampton and Cambridge Arts Theatre where it toured prior to this, it was a delight. It deserves a bigger audience, why not the West End. Fair enough it would help to know a little big about its foundations, less of a problem in France where, as I have said, Cyrano de Bergerac is part of the cultural fabric, and there are occasions where M. Michalik is perhaps overly in love with his creation but for me it was one of the, positive, theatrical surprises of the year so far.

I haven’t seen nearly enough of Roxana Silbert’s work for the Birmingham Rep or, prior to that, Paines Plough. I was taken with Chris Hannan’s What Shadows which came to the Park Theatre, though that had a lot to do with Ian McDiarmid’s complex portrayal of Enoch Powell, and I can thoroughly recommend the Birmingham Rep’s latest co-production with the Rose Kingston, an adaptation of Captain Correlli’s Mandarin. I guess, when Ms Silbert joins the Hampstead Tate as AD I will be able to make a more informed judgement.

I wouldn’t want to single out any one member of the cast of Edmond but, if forced, I would highlight Freddie Fox whose performance is up there with his Tristan Tzara in Tom Stoppard’s Travesties. His default mood is despondency but, as the frazzled nerves give way to a determination to succeed, and the tender affection for Jeanne builds, (don’t worry he doesn’t cheat on Rosemonde in a clever inversion of Cyrano), so we get to see a rounded hero emerge. I am also partial to Delroy Atkinson who was so good in Roy Williams’ The Firm, (still on at Hampstead), though he, like the rest of the players, stays in one dimension. If you know Henry Goodman and Josie Lawrence from other performances you certainly won’t be disappointed.

Now apparently the original Cyrano play was responsible for the word panache finding its way into the English language. M. Michalik aims, and succeeds, in capturing that spirit. I suspect even the master of comic opera translation into English, Jeremy Sams, may have been stretched to the limit in bringing clarity to the chaos here, but, if you just roll with the comic punches, and are in love with theatre, then you really should try to see this should it pop up elsewhere. The show is funny, clever and, in the end, like its inspiration, heart-warming.

Company at the Gielgud theatre review ****

Company

Gielgud Theatre, 29th November 2018

Regular readers will know that the Tourist doesn’t like musicals. However, with Company now ranking alongside Follies, Caroline, Or Change, Groundhog Day, Gypsy, Girl From the North Country, Junkyard and White Teeth, the list of exceptions to the rule is growing alarmingly long. Looks like I may need to revise my opinion. Maybe I just don’t like crap musicals. Or, in a witlessly circular way, just musicals I don’t like.

Company, as you can read at great length elsewhere, is very far from being crap. It’s Sondheim for a start. With a twist as the, artistically and commercially, gifted Marianne Elliott (Angels in America, Curious Incident, War Horse) has inverted the story casting Bobbie (Rosalie Craig, there she is) as a single, female thirty-something mulling the “attractions’ of a life of domestic, married bliss. All done with the blessing and assistance of Lord Sir Stephen S, (well he would be if he were British), who is notoriously, and rightly, possessive about his work. And a trademark, stunning multi-neon, multi-light box design a la Curious Incident from Bunny Christie that could even accommodate a bigger stage.

Now there were still one or two moments when the Tourist’s anti-musical radar started twitching. A fair few of the c(C)ompany dance routines were a little too slick, with choreographed “leaning in” and the suspicion of jazz hands. The camp quotient meter lurched close to the red on occasions. Some of the dialogue seemed a little workaday in places. I am probably alone in failing to understand why Patti LuPone, playing Joanne, is a legend, or maybe the cliche of hard-bitten Broadway broad is just not my bag.

But the music, here played by a bad-ass band under musical supervisor and conductor Joel Fram, with its motifs, repetitions, parodies, consistent surprises, and the lyrics, intelligent, arch, acerbic, funny, thoughtful, wistful, put it into a different league from the fluffy, zero to hero, musical norm. It’s not Chekhov, but unlike what I think of as most musicals, it does ring true to life. It doesn’t have a plot or chronology to speak of, rehearsing Bobbie’s central dilemma over and over again, with different partners and different couples, it doesn’t resolve and it certainly isn’t any sort of “genre”. In fact I can see why, in its garish expressionism, why some punters think this production is all actually going on inside Bobbie’s head.

SS, together with book-writer George Furth, set their musical in the New York of 1970, and built it around nine linked scenes that Furth had previously created for a play. “The increasing difficulty of making emotional connections in an increasingly dehumanised society”. That was how SS described the theme at that time. Marianne Elliot has stuck with the setting, but by inverting the gender of the protagonist, (and many of the gender roles in the couples who come together to give her a surprise 35th birthday party), she brings it bang up to date. Mind you, given extended single-dom, Tinder and the quest for on-line perfection, maybe the world has moved closer to the theme. Don’t ask me, this sort of caper is miles outside of my comfort zone, but Company still struck chords, and not just musically, ta-dah. Anyway throwing the so-called “biological clock” into the mix is a master-stroke. The personal is still political.

There are some absolutely stunning set pieces, in part due to illusionist Chris Fisher, lighting design of Neil Austin and choreography and dance routines of Liam Steel and Sam Davies. Bobbie’s Tardis of an apartment, the street and subway scenes, Another Hundred People, the party games, Company and What Would I Do Without You, the daily routine of living together and the imagined future, (this is where the babies come in), in instrumental Tick Tock with the procession of Bobby body doubles, Jamie’s (Jonathan Bailey, brilliant, again) altar-jilting of Paul (Alex Gaumond), Getting Married Today, the barbershop trio of You Could Drive A Person Crazy (the three boyfriends now being PJ, Andy and Theo),

That’s All I Can Remember. Oh hang that’s not a song that’s just a remark. Whatever. Not knowing the songs or the story, such as it is, means I am not a particularly reliable correspondent but I can assure you that you can believe the positive reviews.

Now Rosalie Craig can sing. And she can dance. But best of all she can act, as the Tourist knows from her turns as Rosalind in the Polly Findlay NT As You Like It alongside Patsy Ferran, and as Polly in the NT Threepenny Opera. Here she plays Bobbie as a wry, detached, almost observer, of her own life, (is it a dream?), occasionally breaking out into a more impassioned soliloquy, firstly in Marry Me A Little and then, most vehemently, in the finale Being Alive. She humours her friends, accepting their foibles, justifications and disappointments and accepting with good humour their attempts to couple her up. but you always sense her reticence in embracing an unknown future when compared to her spirited past and predictable present. Her red dress, and forgive me for the crass and cliched observation, her flame-red hair, make her the focus of attention even when the action is flowing around her. Bobbie’s ambivalence towards coupledom is always present.

Whilst I may not have been entirely convinced by Joanne as performed I see exactly why the character is necessary. With Bobby now as Bobbie, the forceful and intelligent, if somewhat embittered, older woman serves as both guardian and warning. Gavin Spokes, (I wondered where I has seen him last – as the unfortunate Major Ingram in James Graham’s Quiz), as Harry gives Mel Giedroyc, as wife Sarah, a run for her money in the hamming it up stakes. Both are very funny. I was also struck by Jennifer Saayeng’s uneasy Jenny, Ashley Campbell’s conflicted Peter and Daisy Maywood’s haughty Susan but this really is a fine ensemble.

From what I read Company always wows audiences and critics when it is performed, from its first run through many major revivals. It’s easy to see why. If it wasn’t for that Hamilton caper this Elliott/Harper production would sweep up all the musical awards for 2018. I wonder, when it gets its next major UK or US outing (for it is off, of course, to Broadway next year), whether anyone would dare return to Bobby.

Plenty of seats left for the remainder of the now extended run to end March. The prices they are charging for the best seats are in the category of “you’re sh*tting me” but for once it might be worth it and, if you want to, or have to, go cheaper, the Gielgud is not the worst of the West End theatres for sight-lines and legroom. Whatever you do through, don’t miss it. Even if, like me, you hate musicals!!!