Cyrano de Bergerac

Cyrano de Bergerac

The Queens Players at the Big Secret Theatre

Reviewed by Hilary Tuttle

November 13, 2009

In a theater so new that you could smell the drying paint, the Queens Players inaugurated its new primary space with a production of "Cyrano de Bergerac." The interpretation is notably loyal to the Edmond Rostand original, but unfortunately such loyalty leads to two of the show's greatest flaws: its length and its inaccessibility for a contemporary audience.

Running three hours, with the first act lasting one hour and 45 minutes, the seemingly unedited script, which is prone to redundancy, can't sustain the largely limp presentation. Failures in clarity include the actors stepping over one another's words and the flat delivery of many cast members.

As Christian de Neuvillette, the love-struck cadet to whom Cyrano lends his words in the pursuit of Roxane's heart, Anthony Martinez is a bit too thorough. Christian needs Cyrano's help because he is somewhat dim and has difficulty with words, and Martinez's portrayal comes across as suitably vacant. Unfortunately, it's also far too flat to be compelling. Indeed, Martinez seems so oblivious as to be unaware of what his character means to say, preventing Christian from gaining the audience's sympathy. This undermines the plot, as Cyrano's motivation in assisting him becomes unbelievable.

Daniel Wolfe's Cyrano, on the other hand, is suitably clear and strong, with Wolfe's commanding presence bringing an authenticity to the role. While at times obscured by the thin performances of the women in varying minor roles, he manages to convey his meaning effectively in the overly dense script. Kevin Woods and Daniel Smith give strong performances as LeBret and Comte DeGuiche, respectively. As Roxane, Sarah Bonner turns in a mixed performance that's largely representative of the overall show: the movement between petulant flatness and emotional depth ultimately shows skill but fails to engage on the whole.

Richard Mazda directs and produces adeptly on a minimal but mostly effective uncredited set. Mazda's small appearance in the show as the paramour of the baker's wife is a clever touch that echoes the signature of Alfred Hitchcock. Indeed, for those who showed up early enough, Mazda's dedication to the show's success was on display as he perched on a small scaffold painting the ceiling of the entryway to the new Big Secret Theatre. (One presumes the company's old space, which remains in the same building complex, is now the Little Secret Theatre.) In spite of some clumsy choices and inadequate performances, the new space and several of the company's players show promise for future successes.

Presented by the Queens Players at the Big Secret Theatre, 44-02 43rd St., Queens, NYC. Nov. 12–Dec. 5. Schedule varies. (212) 352-3101, (866) 811-411, www.theatermania.com, or www.thequeensplayers.com.