Cyrano de Bergerac

Affairs of the heart take audiences on a magnificent journey in the Milwaukee Repertory Theater's production of Cyrano de Bergerac. Thanks to a brilliant translation by Brian Hooker and the talents of noted director Sanford Robbins, this Cyrano is certainly a highlight of the fall season. It has it all: a breathtakingly epic sweep that's set against a historical backdrop; a love triangle; gorgeous costumes; manly fight scenes and a three-hankie ending. Although many audience members will know this famous story, few can envision what is about to unfold before them.

Cyrano is clever from start to finish. It opens with a play-within-a-play, which introduces Cyrano in a most unusual way. It is immediately apparent that Cyrano is more dramatic than the actors onstage, and he soon proves it with clever wordplay and a smartly staged duel. The audience is transfixed by this display. It's quite a treat to see actor Lee Ernst (Cyrano) display his talents as a fight choreographer. Ernst is literally the heart and soul of the piece, and he is rarely offstage.

Interestingly, the length of his fake nose is so exaggerated that the audience need not use its imagination. The other characters in this love triangle include the sweet Roxane, whose beauty and intelligence attract many admirers, and Christian, the handsome soldier whom Roxane favors.

Cyrano, who also loves Roxane, is convinced that his large nose makes him unsuitable to win Roxane's love. In a play where poetry rules, Christian is flummoxed when he hears of Roxane's interest. Christian confesses to Cyrano that he is basically mute in the presence of women. Cyrano offers to write his love letters. A desperate Christian accepts this arrangement. It works like a charm until the moment a cocky Christian brushes off Cyrano's assistance. In one of the play's funniest scenes, Christian (played by Andre Martin) stutters painfully in Roxane's presence until rescued by Cyrano. As Roxane, actor Erin Partin allows the audience to see her character mature from a giddy coquette to a wiser, more intellectual woman. Partin gives such a satisfyingly rounded portrayal of Roxane, it is no wonder so many men fall under the character's spell.

Another of Roxane's suitors is the evil and powerful Count de Guiche. Upset at Roxane's indifference, he uses his position as commander of Cyrano's and Christian's regiment to put them both on the front lines. Roxane begs for daily letters from Christian. Ironically, when the battlefield smoke clears and Roxane learns that she has become a widow, it is these same letters (written by Cryano) which sustain her in her grief. The letters give her comfort during 15 years of mourning. When a wounded Cyrano visits Roxane for the last time, he insists on reading Christian's farewell letter. This is a more appropriate gesture than she at first realizes. The play ends almost as dramatically as it begins, with Cyrano in Roxane's arms.

Production values are appropriately high. Since play begins in 1640's Paris, the male Parisian dandies are ruffled and frilled to the max. Not to be outdone, the onstage "actors" in the opening scene are equally opulent in their attire. The soldiers, too, are almost as decked out as the Three Musketeers. So as not to detract from all this visual candy, the set is basically a series of dark wooden arches, platforms and staircases. For each scene, they are taken apart and rearranged by the stage crew like a jigsaw puzzle. The overall effect is mesmerizing to watch. Combined with the fine acting and directing, it guarantees a memorable production.