A sweeping love story marred by insecurity and missed opportunity, Cyrano de Bergerac transfers to the Noël Coward Theatre following an acclaimed run in Stratford-upon-Avon. The Royal Shakespeare Company’s production, in a new modern verse version by Simon Evans and Debris Stevenson, reframes Edmond Rostand’s classic with a clarity and immediacy that keeps its emotional stakes firmly in focus.
From the outset, this production moves with confidence. Evans’ direction leans into both the humour and the melancholy of the piece, allowing them to sit comfortably alongside one another. Stevenson’s adaptation sharpens the language, and the modern verse is beautifully poetic, drawing the audience in with a rhythm and flow that feels both fresh and accessible without losing its emotional weight.
At the centre of it all is Adrian Lester, reprising his role as Cyrano, and it is a performance that defines the production. Lester is outstanding here, delivering every line with a precision and musicality that makes the verse feel completely natural. His phrasing is exact, each word carefully placed without ever feeling laboured, while his mannerisms and finely honed expressions reveal the layers of confidence and vulnerability beneath Cyrano’s bravado. Lester gives one of the most accomplished performances in the West End right now.
He is joined by Susannah Fielding as Roxane, who brings both intelligence and independence to the role, ensuring she is far more than simply the focus of Cyrano’s affection. Fielding’s performance is thoughtful and grounded, giving Roxane a clear sense of agency throughout.
Levi Brown’s Christian is an unexpected highlight. Played with a distinctly Brummie edge and a touch of endearing dimness, it’s an unusual choice, but one that fits neatly with the production’s overall tone. Brown leans into it fully, creating a version of Christian that is both comic and sympathetic, and providing a sharp contrast to Cyrano’s verbal brilliance.
The production strikes an effective balance between period and modernity. It feels contemporary in its energy and delivery, yet never loses sight of the era in which it is set. That balance allows the story to remain recognisable while still feeling fresh.
There is also a strong sense of playfulness running throughout the first act. The comedy is finely judged, landing consistently without ever tipping into excess, and the frequent moments where the company spills out into the auditorium add a welcome sense of spontaneity. Cyrano’s band, which he has ‘won’, provide a recurring presence, their musical interjections initially adding to the humour before taking on a more reflective, even poignant quality as the tone shifts in the second act.
What emerges is a production that understands both sides of Cyrano de Bergerac – its wit and its heartbreak – and allows them to exist together without forcing the balance. The humour draws you in, but it is the emotional weight behind it that stays with you.
By the end, Cyrano de Bergerac reveals the full weight of its ambition. The humour, the invention and the performances all give way to something more direct and deeply felt, a love story told with clarity, precision and a real sense of feeling. The language never loses its pull, and the result is a production that feels both engaging in the moment and difficult to shake. A beautiful, romantic production that says more than the words alone ever could.
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