LAST CHANCE: Douglas Hodge wins by a nose in ‘Cyrano de Bergerac’ revival

We’ve all come to know the nose. It protrudes from an otherwise forgetful face. It prohibits the title character from utilizing his wit to win the heart of the beautiful Roxane. It’s unmistakably present, always requiring a few extra seconds of gawking, morphing a glance into an uneasy stare.

Cyrano de Bergerac, the exquisitely accessible French classic by Edmond Rostand, is being given a commendable revival by the Roundabout Theatre Company at the American Airlines Theatre on Broadway. Running through Nov. 25, the production stars Tony winner Douglas Hodge (La Cage Aux Folles) as the titular character with the protrusive nose and endless supply of panache.

Hodge’s portrayal, quite dissimilar from other incarnations, including Kevin Kline’s take just a few years ago, is the best part of the otherwise serviceable evening. He embodies the role with a realism and seriousness that often are missing from Cyrano productions. The comedy is washed over by both Hodge and director Jamie Lloyd, letting the clever words (translated by Ranjit Bolt) take a far more hurtful, dramatic tone. Although there are laughs, this Cyrano is more interested in breaking hearts than winning them over.

The action of the romance plays out on a two-tiered Medieval-looking set with numerous archways. The famous balcony scene is expertly staged, with Cyrano speaking touching words to his desirous cousin, Roxane (an unfortunately ineffective Clémence Poésy). Patrick Page, late of Spider-Man: Turn Off the Dark infamy, plays a commanding Comte de Guiche. Kyle Soller’s Christian, the buffoonish, ill-fated suitor of Roxane, never feels at home in his pivotal role; when his “beauty” is matched with Cyrano’s “brains,” there doesn’t seem to be a question that the man with the large nose is bringing more to the deal.

It’s a difficult predicament for any show, especially one as centered around its main character as Cyrano de Bergerac is. When the actor at the helm breathes so much life into his performance, much of the air is sucked out of the rest of the production. Nothing and no one is able to reach Hodge’s heights; it’s almost as if he’s acting in his own play, offering a stirring interpretation of an iconic role, while his colleagues largely run through the (e)motions necessary for the half-smiles, chuckles and occasional clap.

Lloyd’s direction is nicely handled, and much of the proceedings feature enjoyable energy and interesting pathos. The audience becomes part of the story (Cyrano even makes his entrance from the orchestra section). This enveloping of the crowd lets us into the romance of the first half and the battles of the second half. Despite uneven acting, Lloyd is able to build a production that winningly earns a few tears in the final minutes. It has always been upsetting to see Cyrano end his life without the ultimate fulfillment, with nowhere to utilize his panache.

Hodge and Lloyd will be remembered far beyond Roundabout’s final curtain on Nov. 25. Well, they will be remembered until the next Cyrano revival, which, given the ubiquity of the nose on Broadway, may be just a few years away.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Cyrano de Bergerac

• By Edmond Rostand; translated by Ranjit Bolt

• Directed by Jamie Lloyd

• Starring Douglas Hodge, Patrick Page, Clémence Poésy and Kyle Soller

• Running time: 160 minutes, with one 15-minute intermission

• Currently playing at the American Airlines Theatre at 227 W. 42nd St. in New York City. Click here for more information.

• Rating: