The new adaptation of the famous play features musical numbers by The National (the whole thing started as an off-Broadway production in 2019), and stars Peter Dinklage in the title role, where Cyrano’s nose problem is now a height “problem”. This transference really works, for multiple reasons, the main one being Dinklage can bring himself to the role without any prosthetic help (as is customary for other actors playing Cyrano). The transference also works because the themes of the play are universal. It’s not about a guy with a big nose. It’s about what happens when you fear rejection to such a degree that you basically choose loneliness and isolation. It’s not a comedy, it’s a cautionary tale. I reviewed for Ebert.
Now I want to see this, if for no other reason than my only real familiarity with the source material comes via the Steve Martin “Roxanne” (which I adore) and…an episode of “The Brady Bunch”, believe it or not. In fact, until I read your review I would have insisted that the original story dates back to the 1600s or something, along the lines of Don Quixote! Learning is everywhere!
It is pretty wild that this play premiered almost in the 20th century. It does feel quite old. In the era of Ibsen and people like that, we get this!
Roxanne made such a huge impression on me that I am still – even though I know the play – surprised at how sad it is.
Very glad Dinklage and his wife got this one off the ground after its run off-Broadway – it had to take a lot – they filmed in the pandemic – which had to be very difficult – it’s a gigantic production, lots of extras, and scenery … but I’m happy they made it happen.