Cyrano de Bergerac (Artefact Theatre Company), at fortyfivedownstairs

The power and punch of Martin Crimp’s 2019 free adaptation of Cyrano de Bergerac, as superbly realised by Artefact Theatre Company, will stay with me for a long time.

It is a sharp, modern version of Edmond Rostand’s classic love triangle, set in 17^th century France, with toxic masculinity at its core.

Insecurity and self-loathing are mainstays.

The play contains poetry, rap and a liberal amount of swearing.

No prosthetic nose is within sight, nor elaborate period costuming.

Photos by Matthew Chen

It is dressed down, with the focus on the language and the interrelationships between the characters.

The tale remains that of a brilliant wordsmith with a big nose (references to it being the elephant in the room), whose protuberance is an incumbrance.

A man’s man, held in high esteem by his friends, colleagues and fellow soldiers, Cyrano de Bergerac has eyes only for his beautiful, intelligent cousin Roxane.

Mind you, he cannot bring himself to tell her how he feels because he is so self-conscious.

New to Paris and to the cadets is the handsome, but hardly all that smart, Christian, who instantly falls for Roxane and, in turn, she for him.

But when it comes to wooing her, he is all at sea – in short, he doesn’t have the words.

And that is where Cyrano fills the void, because Roxane has asked him to look out for Christian.

He does that through his carefully crafted language, stepping in when Christian cannot, without Roxane knowing any the better.

Matters come to a head though after both men are sent off to war and no-one gets the happily ever after that they were looking for.

I couldn’t have been more impressed by the bravura showing of Mark Yeates in the lead. He is a bundle of raw energy – fearsome, fiery, protective and doting.

In his hands, Cyrano is the ultimate in contradictions – heroic and yet fearful of rejection. 

We witness growth in Roxane in the form of Cazz Bainbridge, who, in character, comes to realise that beauty is only skin deep.

Callum O’Malley is an imposing presence as the naïve Christian, while there is a roguish quality to Dion Zapantis as Cyrano’s drunken poet friend Ligniere.

Loyalty and the voice of reason are evident in Bushu Fan Chol as Cyrano’s best friend and confidante Le Bret.

As the arrogant aristocrat De Guiche, a thorn in Cyrano and Christian’s side, trying to manipulate Roxane, for whom he also carries a torch, Louis Lucente shines.

The pompous power trip rests easily on his shoulders. 

In terms of endearing characters, I found it hard to go past Annabelle Tudor as the witty café owner and poet Leila, who supports Cyrano’s artistic pursuits. Tudor brings unmistakable drive to the role.

Around them, the rest of the cast are fine servants of the piece, bring shifts of light and shade to their respective parts.

A dramatic musical introduction serves as a portent of the ordeal to follow, in a production that benefits enormously from the soundscape and spot lightning.

The former is the domain of Sebastian Herrera and the latter the work of Tim Bonser.

A stubby, catwalk-like stage between traverse seating carries with it hidden pockets. The set designer is Ash Reid.

There is the odd surprise too in the costuming, which is the responsibility of Dylan Lumsden.

In summary, I was thoroughly stimulated and wholehearted engaged by what director Matthew Cox offered up.

Cyrano de Bergerac became accessible in a way I had never seen it before and I am the richer for having had a seat in the house.

Two hours 50 minutes, including interval, it is on at fortyfivedownstairs until 28^th February, 2026.