THEATER REVIEW : Timid ‘Cyrano’ Leaves Its Poetic Flights Grounded

With a nose that’s attractively large rather than grotesquely huge, Edmond Rostand’s classic hero is swashbuckling once more in California Repertory Company’s production of the 1897 classic “Cyrano de Bergerac.”

The nose that Armando Jose Duran wears in the title role is not the only timid thing about the staging at Cal State Long Beach’s Studio Theatre. It is a fairly standard reading of Rostand’s sweeping drama, directed by Joanne Gordon with few poetic flights and dim romantic fire.

The concentration is on action, and the effect is cinematic rather than theatrical. Gordon compounds the effect with recorded music used unnecessarily to underscore many of the scenes.

Like a metronome, this can, and often does, subconsciously dictate the tempos and rhythms to the actors, often giving a ponderous tone to moments that should sparkle, particularly when Cyrano is lyrically caressing his Roxane on behalf of the beautiful but dimly lit Christian.

Duran’s Cyrano has his feet planted firmly on earth, rarely soaring into the poetic ecstasies Rostand has given him. This Cyrano has strength but little imagination, and little of the innate charm that brings Roxane to affection and, finally, to love.

Doina Roman-Osborn’s Roxane fares better, with a lovely face that would enchant the simple Christian, and an inner warmth and clear intelligence to drive Cyrano’s adoration.

The best and most lyrical moment in the production is the final scene, the silence of the convent that is Roxane’s home framing her final conversation with Cyrano. It vibrates with frustrated passion.

This Christian, who figuratively stands between Cyrano and Roxane for all their years, is not the pretty boy often cast. Jamieson K. Price is stalwart and handsome, and gives Christian a steadfastness and simplicity that not only excuse Roxane’s love but also explain the affection his fellow Gascons hold for him. Price makes little of Christian’s obtuseness.

Cyrano’s great friend and leader, Le Bret, is authoritatively played by Richard Perloff, and the pompous De Guiche, who also lusts after Roxane, is almost likable in Jeff Paul’s detailed portrait, particularly notable for the gentle humor of his final scene with the older Roxane.

David Elias Glick is a nicely buoyant Ragueneau, the baker-poet-playwright-warrior who has no time for anything but art, and Deanna Boyd is a delight as his long-suffering wife, who finally takes orders at the convent.

*

Something is askew with Kent Miller’s fop of an actor, Montfleury, who is dressed outlandishly and preens properly but gives a rather pedestrian and less than historically accurate reading of a really bad actor in Moliere’s time.

In a cast of almost 40, there is a great deal of authentic movement in period costumes and logical period readings by the supporting cast. The turntable-centered scenic design by Alicia Ellsworth and Lisa Hashimoto is visually impressive and works the various locations together seamlessly.

K. C. Cochran’s excellent costumes and Sharon L. Alexander’s moody lighting all contribute proper tones to a production that puts forward a worthy face but has trouble finding its heart.

* “Cyrano de Bergerac,” Studio Theatre, Cal State Long Beach, 7th Street and West Campus Drive. Wednesday, 6 p.m.; Thursday through Saturday, 8 p.m.; Ends Saturday. $15. (310) 985-7000. Running time: 3 hours.

Armando Jose Duran: Cyrano de Bergerac

Doina Roman-Osborn: Roxane

Jamieson K. Price: Christian

Richard Perloff: Le Bret

Jeff Paul: De Guiche

David Elias Glick: Ragueneau

Deanna Boyd: Lise

Kent Miller: Montfleury

* A California Repertory Company production of Rostand’s classic romance. Directed by Joanne Gordon. Scenic design: Alicia Ellsworth, Lisa Hashimoto. Costume design: K. C. Cochran. Lighting design: Sharon L. Alexander. Sound design: Corey B. Holst. Fight choreography: Holly Harbinger, Jamieson K. Price. Stage manager: Tricia S. Loya.