Review of ‘Cyrano de Bergerac’ (2026, West End): “Amusing performance doesn’t have a nose for pathos”

It’s not like they went to great lengths to make his suffering resonate. Or his passion. There are other prominent features- as it would have been expected -but poignancy isn’t really one of them. That doesn’t translate into an instant veto. In fact, there’s praise to be given to this latest adaptation of Rostand’s classic, which has recently made its way into London’s West End, following a generally well-received inaugural run at the company’s headquarters.

But none of those virtues is enough to make the show a triumph, especially when such major weaknesses can be spotted. And just like in its protagonist, those flaws are difficult- if not impossible -to ignore. If the humour is infectious and the spectacle is lush, its heart seems to have taken on a much quieter mode. And sometimes, it might seem like there’s no beat at all.

This is the story of an exceptionally gifted man hindered by his own self-consciousness. He is not the handsomest man in the playground. But when it comes to poetry, acting, or fencing, his excellence is unmatched. He is deeply in love with his childhood friend. But she longs for someone else’s love. And it’s solely by helping his rival win her favour that he’ll get a glimpse of the joy he’ll never truly have.

It’s still a comedy. But also, a romantic drama. And both aspects need to be balanced for the arc to work. There’s an intention to make that happen, but there’s hardly an achievement. The narrative’s most tragic elements are either rushed or presented too shallowly. Consequently, the pathos never solidifies. And inevitably, there’s a void that audiences are left with, one that nothing else in the performance can fill.

The fact that Act One nears faultlessness, while Act Two is plagued by pacing and executional mistakes, only accentuates these detriments. At the same time, there’s an obsession with making people laugh at moments that should be brimming with sentimentality. As a result, the lack of connection with the personages’ plight cements and eventually takes over — something frustrating at the very least, given that, apart from unrequited love, we’re talking about a few deaths.

The production is still enjoyable. And the staging has a lot to take credit for in that regard. The design doesn’t teem with complexity. It doesn’t need to either. Its dynamism and versatility are what make it so terribly compelling.

A motionless set transforms from an upscale Parisian theatre to a humble bakeshop, a convent’s courtyard, and even a war settlement by just adding a few props and lighting changes. For the most part, it works well. But it’s the immersive approach- using the boxes, aisles, and other spaces across the auditorium -that confers it that extra degree of uniqueness, despite an occasionally gimmicky feeling.

The other highlight stems from the live musical renditions, which are cleverly integrated into the narrative. A group of string, brass, and percussion players accompanies Cyrano throughout the recount, allegedly won in a bet. Although their existence is justified, their presence, just like their tunes, meanders between the diegetic and non-diegetic. It’s quite an intelligent move that adds depth to the production’s stylistic choices, while underpinning every emotion through a deftly composed underscore.

Most performances are satisfying. Philip Combus’s Le Bret overflows with flair, naturalness, and stamina, while Scott Handy shines through his poised yet uproarious portrayal of Comte de Guiche.

Adrian Lester’s Cyrano is somewhat magnetic and inviting, but the most dramatic aspects of the role aren’t quite as honed, depriving the character of some of its soul. Similarly, both Susannah Fielding and Levi Brown disappoint as Roxanne and Christian de Neuvilette, demonstrating technique but not truthfulness or layering in their delivery.

It’s a good effort, but it’s far from extraordinary. And the saddest part is that it could have actually been superb. And although these problems are right under their noses, it doesn’t seem like the creative team knows or cares about bringing its poignancy to the same level as its jest. Anyone who’s asked to come see the show could still reply with a yes. But there are also a few large noes.

Cyrano de Bergerac plays at London’s Noel Coward Theatre until 5 September. Tickets are available on the following link.

By Guillermo Nazara