Cyrano de Bergerac London Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsShow-Score Member Reviews (24)
See it if Brilliant acting and a clever interpretation of the play. No big nose, just straight acting
Don't see it if Traditional theatre
See it if you are a fan of James McAvoy - who does bring his visceral acting to bare
Don't see it if you were hoping for something made a bit more relevant/modernised
See it if McAvoy commands the stage in this bold recalling of the classic story. Even with a blank stage, this story has never felt so large.
Don't see it if If you're not a fan of bold retellings of classic stories, this one won't win you over.
See it if you want to see a new interpretation Unreciprocated love, ghost written letters. Light/dark tender/rage.
Don't see it if you prefer a traditional play, the stage is bare.
See it if you are a fan of Jamie Lloyd or James McAvoy, else you like to see weird quirky plays that make you wonder what's the point.
Don't see it if you have seen and liked any other production of Cyrano or if you'll struggle to not roll your eyes when McAvoy talks about how ugly he is. Read more
See it if You enjoy new twists on old classics You’re a rap fan
Don't see it if You don’t enjoy contemporary art
See it if You like great acting as James McAvoy is so good in this one, very heartfelt and entertaining
Don't see it if You don’t like the story, that’s the only reason why anyone would dislike this I think
See it if You think James McAvoy's brilliant and you like witty, clever retellings with lots of wordplay.
Don't see it if You hate poetry or plays about 18th century France
Critic Reviews (15)
If anything, this breathtakingly thrilling production by Jamie Lloyd - and the tour-de-force central performance by James McAvoy as the eponymous, big-nosed soldier-poet - have only become deeper and richer since the 2019 premiere. Maybe the last two years have made its themes of separation and loss more profound.
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It’s a daringly contemporary re-working which will be remembered for one of the most imposing performances of the decade. [However] the slackening of pace in the second half was unmistakable.
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Don’t mention the nose. That’s the warning offered to anyone in the vicinity of Cyrano de Bergerac, who, in James McAvoy’s fiercely charismatic portrayal, is a powder keg of a man: one quip about his legendarily large proboscis and he’s apt to explode.
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Lloyd’s production delights in the music of voices – coupled with the Ringham brothers’ sound design and Vaneeka Dadhria’s beatboxing – it continually underscores the fact that this play is, as much as anything, an impassioned love letter to the power of words.
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Writers are fighters and the word is everything in this firecracker show about passion, rejection, and the crazy genius of the spoken word. The rapiers, intrigue and censorship of Cardinal Richelieu’s Paris, circa 1640, are modernised as razor-sharp banter about love, sex, and – nudge, wink – cultural appropriation.
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Complex ideas about love, literature, body image and truth are expressed in its dizzyingly clever rhymes, but essentially it remains a captivating, tragicomic romance.
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It doesn’t have the euphoric effortlessness and virtuoso authenticity of ‘Hamilton’; but it’s not a million miles off...Lloyd and co have cooked up something pretty remarkable.
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I’ve barely scratched the surface of a show that cuts to the core of a classic and what it means to be alive. I defy anyone not to fall in love with it.
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