PTC's 'Cyrano' is nothing to sneeze at

CYRANO DE BERGERAC, Pioneer Theatre Company, Simmons Pioneer Memorial Theatre, through Oct. 11 (581-6961). Running time: three hours, 20 minutes (two intermissions).

The timing is just right.

It's been 15 years since Pioneer Theatre Company last produced Edmond Rostand's swashbuckling adventure, "Cyrano de Bergerac." And longtime local favorite Patrick Page, who earned his Equity card in Utah several years ago before heading on to New York City, has grown to the point where the role of the heroic, impeccably chivalrous Cyrano fits him like a finely tailored French glove.

Beyond the flashy swordplay and the bravado, Page also adds his own element of emotional depth.

PTC's artistic director, Charles Morey, has long had a special knack for delivering epic-scale productions. The heroism may loom larger than life, but the characters themselves are realistic and human; none of them are perfect.

Cyrano feels dismally insecure, going through life with a large, talked-about nose. He can make fun of it himself, but he'll quickly take care of anyone else brazen enough to poke fun at him.

But "Cyrano" is much more than just a story about a guy with a big nose. It's about courage and love and relationships.

It's also a huge show, with more than 50 roles played by nearly 30 actors. But the main focus is on a handful of key, central characters.

Tari Signor is perfectly cast as the beautiful and wealthy Roxane — officially betrothed to Vicomte de Guiche (Remi Sandri), but also loved from afar by handsome young cadet Christian de Neuvillette (James Knight), and, of course, by Cyrano.

Roxane is smitten with the tongue-tied Christian, who cuts a deal with the poetic Cyrano. The latter provides his young friend with romantic words and phrases — and it's not until 15 years later that Roxane, then living in a convent, discovers her true love.

Richard Mathews delivers yet another fine performance as baker Ragueneau. George Maxwell's stunning scenery, Carol Wells-Day's attention-to-detail period costuming, Robert Jared's creative lighting, Dale Anthony Girard's finely choreographed fight sequences and James Prigmore's original underscoring, are all first rate.

Sensitivity rating: Some theatrical fighting, but no strong language.

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