Theater review: Los Altos Stage Company\u2019s CYRANO offers a different, somewhat odd and slow-moving take on Edmond Rostand\u2019s play<\/p>\n
By <\/em>JOANNE ENGELHARDT <\/u>on\u00a0March 10, 2025<\/em><\/p>\n \u00a0<\/strong>Why anyone involved in the current production of \u201cCyrano\u201d at Los Altos Stage Company thought it would be a good idea to make Cyrano a woman (without a large proboscis) is somewhat puzzling.\u00a0 This version of \u201cCyrano,\u201d called a new adaption by Jeffrey Lo<\/strong> and Max Tachis<\/strong>, has some things to recommend it \u2013 including several excellent performances.<\/p>\n Yet it drags at times, and the constant \u201cins and outs\u201d of set changes, curtains and people become confusing to an audience who is likely there to better understand a new version of Rostand\u2019s play.<\/p>\n Director Tachis found several excellent actors to cast for this production. Vivienne Truong<\/strong> stands out as the fair Roxane. When she\u2019s on stage, the play moves along at a fast clip.\u00a0 Equally adept at commanding the stage (although rarely using his own words) is Jonathan Covey <\/strong>as the tongue-tied young man anxious to impress Roxane. \u00a0As Cyrano, Maria Giere Marquis <\/strong>as Cyrano provides the glue that weaves the story together, though why the director had her walk off the stage and stand in the dark for a long scene is puzzling.<\/p>\n Edmond Rostand\u2019s “Cyrano de Bergerac” to this day remains a wildly popular and much beloved play based loosely on the life of the title character who in fact famously sported in the early 17th century a large nose and a swift sword. To the long list of both rhymed and blank verse translated adaptations of the original work in French now comes a new, gender-bending version by Jeffrey Lo and Max Tachis staged with a number of character changes and updates to give an old tale still set in 1640 France a modern-day feel.<\/p>\n Humor and heart continue to reign in this story of a strange but deeply loyal love triangle, yet some of the twists and turns inserted sometimes pull this “Cyrano” in directions that are a bit plot puzzling and pace slowing.<\/p>\n There are a number of new characters including a four-person ensemble that acts somewhat like a Greek Chorus, often making sardonic or witty comments. Brittney Mignano<\/strong> stands out as a \u201creporter-type\u201d who is usually angry about something or someone.\u00a0 Jeremy Ryan<\/strong> as Montfleury\/Ragueneau is sweet and charming as the poet-chef who loves to cook up new things and share his edible goodies with whoever is around to try them. (The actors get to eat the food he brings out on trays \u2013 a nice touch of reality.)<\/p>\n At the beginning of the play, Gabriella Goldstein<\/strong> as the Countess de Guiche kowtows to her husband, Count de Guiche (Emery Mullligan<\/strong>), but she eventually breaks free from his overbearing personality and provides a sympathetic courageous counterpoint in Act 2.<\/p>\n Zachary Vaughn-Munck<\/strong> offers up many humorous asides, though he is just listed as a member of the Ensemble in the program. He plays the role of a town crier, loyal to the corrupt count who frequently provides fake news that the count loves to hear.\u00a0\u00a0 As Diana, Lisa Burton Guevara<\/strong> usually has a look of dislike and distrust whenever Cyrano and Roxane are around, but she suddenly gets all aflutter whenever Ragueneau is around.<\/p>\n There are a number of big battles with various enemy armies, but none of them are shown here.\u00a0 Instead, Cyrano and many of the other characters dart behind the back curtain, but do not return.\u00a0 Cyrano does, of course, so that she dies onstage with Roxane holding her.<\/p>\n Costume designer Lisa Claybaugh<\/strong> has created some extraordinarily beautiful gowns for the women in the cast to wear \u2013 most notably the gorgeous one worn by Roxane. But some of the ones worn by men such as Covey as Christian are equally as lovely.<\/p>\n Interesting lighting designs frequently appear during the play, including a giant \u201cC\u201d as the audience enters.\u00a0 Later, large lights play across the stage and float into the nether, thanks to the efforts of lighting designer Carol Fischer.<\/strong>\u00a0 Most of the words were easy to hear thanks to sound designer Connor Diaz.<\/strong><\/p>\n Due to many sexual innuendos and some swear words, this production is best seen only by older teenagers and adults.<\/p>\n Runtime for \u201cCyrano\u201d is approximately 2 \u00bd hours with one intermission.<\/p>\n