![]() The language moves quickly–at first, it feels like you’re not catching it all. Crimp’s adaptation asks a lot of every actor, and of the audience. McAvoy has an impressive command of the language. This Cyrano’s outward attractiveness is a physical manifestation of his intellect it takes Cyrano’s inner beauty and shows us what it looks like on the outside. We buy it, without reservation, because the world around him has so firmly established that he’s ugly. There’s no prosthetic nose and McAvoy, muscular in a tight t-shirt, puts the throb in heartthrob. In Lloyd’s production, Cyrano’s not repulsive at all. He’s also plagued with an enormous nose that makes him visually repulsive. He delivers spontaneous bouts of poetry and can fell an enemy with only verbal dexterity. Or, more accurately, it lives and thrives on that performance, since McAvoy is titanic in the part, delivering rapid-fire dialogue and dynamic physicality in an unforgettable piece of acting.Ĭyrano is a master of words. As a result, it lives and dies on the central performance by James McAvoy. ![]() ![]() Working off a new adaptation by Martin Crimp that blends rap, slam poetry, and ASMR, the production puts Cyrano’s words front and center. Words are currency, and weapons, and instruments of transformation in Jamie Lloyd’s sleek, modern dress revival of Cyrano de Bergerac at the Brooklyn Academy of Music. “Cyrano de Bergerac” at the BAM Harvey Theatre (Photo: Marc Brenner) ![]()
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