This weekend will be your last chance to see Frank Langella’s Cyrano at the Hilberry Theatre. Here are photos of some of the actors’ costumes designed by 1st-year MFA Costume Designer Donna Buckley.
“Cyrano” costume parade
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The director’s thoughts on “Cyrano”
Frank Langella’s Cyrano returns to the Hilberry Theatre stage this weekend for three performances, beginning at 8 p.m., Thursday-Saturday, February 9-11, 2012. Director Blair Anderson has this to say about the production:
“Rostand’s Cyrano de Bergerac premiered in Paris at the very beginning of the Modern era in 1898. Frank Langella’s adaptation of Cyrano has distilled the focus to the essential (unrequited) love triangle between Cyrano, Roxane, and Christian. The contemporary, yet timeless, treatment strips away the European trappings of politics, society and military struggles.
At the very heart of Cyrano is the concept of panache. Originally the word literally meant the feathered plume of a helmet or military headgear; but since Rostand’s play, panache has come to suggest a commitment to valor, a certain elegance, and self-esteem verging on pride. Panache is archetypically present in Cyrano’s lust for life and dexterity with both the sword and the word.”
-Director Blair Anderson
“Cyrano” review from New Monitor
Streamlined ‘Cyrano’ at WSU’s Hilberry
By Robert Delaney
Read original article here.
The nose is just as long, but the play is shorter, in “Frank Langella’s Cyrano,” the latest production at Wayne State’s Hilberry Theatre.
Edmond Rostand’s “Cyrano de Bergerac,” an 1890s play about a real 17th-century French poet and swordsman, has seen many stage productions in several English translations, as well as several motion picture adaptations – notably the one that starred Jose Ferrer in the title role.
The tragic tale of the ugly poet with the beautiful words and his love for the fair Roxane continues to move audiences today.
After having played the lead several times in one of those English translations, actor Frank Langella decided the play would be more effective if a number of characters and a lot of dialogue were cut out of it. So, Langella undertook to do the trimming himself, hence his name in the title.
The result is a two-act play with a running time more in line with most other modern theater offerings, but with some of the richness of the original missing. Frankly, I was happy with the old way of doing it, but Langella’s abridgment has undoubted appeal.
Director Blair Anderson has directed a cast of grad-student actors in bringing this adaptation to local audiences. As Cyrano, David Toomey handles both the verbal sparring and swordplay with style and flair. Sara Hymes gives a fine portrayal as Roxane, love interest of both Cyrano and of the young and handsome Christian. Topher Payne gives us a Christian not only lacking in poetry but of much personality of any kind. Christopher Ellis is appropriately haughty as De Guiche.
David Sterritt’s swordfighting choreography is quite impressive. Also to be commended is Donna Buckley’s costume design work. Unfortunately, Greg Loftus’ scenic design doesn’t contribute much to this production, and Brian M. Scruggs’ lighting design leaves it somewhat difficult to see. When plays are done about eras when large hats were in style, it would be nice to have some light on the players’ faces.
Still, any production of “Cyrano” with a good Cyrano and good swordfighting can be fun to see.
SHOW DETAILS: “Frank Langella’s Cyrano” continues in rotating repertory through March 10 at the Hilberry Theatre, at Cass and West Hancock on the WSU campus in Detroit’s Midtown area. For performance and ticket information, call the WSU Theatre box office 313-577-2972 or go to www.wsushows.com.
Reprinted with permission of the New Monitor, Feb. 2, 2012
Reviewer raves about lead actor Dave Toomey in “Cyrano”
Hilberry Theatre noses around with Frank Langella’s ‘Cyrano’
By SAMANTHA WHITE, Special to The Oakland Press
Read original article here.
Dave Toomey as Cyrano
Wayne State University’s production of Frank Langella’s “Cyrano” wins by a nose at the Hilberry Theatre this season with an amazing lead actor.
Dave Toomey, who plays Cyrano, is a force in the local theater. He has timing, presence and talent that speak of his time spent in the theater mecca, New York City, during his time at New York University’s Tisch School of the Arts. He is just a few performances shy of Broadway stardom.
Frank Langella’s “Cyrano” is an adaptation of the play “Cyrano de Bergerac” by Edmond Rostand. Langella’s version doesn’t sacrifice the story and its dramatic impact. It instead tones it down and gives it a bit more humanity and relatability.
The lead character is a poet and soldier in love with his cousin Roxane, played by Sara Hymes. But she is in love with the inarticulate Christian, played by Topher Payne.
Cyrano believes his long nose makes him too ugly for Roxane to love. Christian knows his own inability to express himself romantically prevents him from communicating his love in a way that will appeal to his beloved.
So the two devise a plan to use Christian’s good looks and Cyrano’s poetic talents to win Roxane’s heart; and the complexities and complications begin.
The Hilberry set is basic — they utilize set pieces such as long cloths hung from the ceiling to the stage floor to emulate a tree in a garden. That may speak to the simplicity meant for Langella’s version of the show. But the moon, a light toward the front of the stage, caused some issues for the viewing audience as it illuminated the stage even during moments where there should have been a blackout. You could see characters rising between scenes after a dramatic death, for example.
The costumes aren’t the best Hilberry has to offer from its presumably extensive wardrobe.
The other actors didn’t always give Toomey the support he needed. There were a couple of scenes where it felt as if he were Michael Jordan playing basketball with a high school team.
Hymes began the first act without any emotional depth. It was hard to believe she was in love with Christian and disgusted with De Guiche, played by the engaging Christopher Ellis. But by the second act she was playing with Toomey and providing the emotional support he needed to deliver the last difficult scene.
The show is pleasing and well worth the trip to Midtown Detroit — the last scene in the garden with the cast makes it a winner.
The cast includes Vanessa Sawson as Marguerite, Christopher Call as Ragueneau, Danielle Cochrane as Lise, Edmund Alyn Jones as Le Bret, Andrew Papa as Carbon and Brent Griffith, Alec Barbour and Joshua Blake Rippy as soliders one, two and three, respectively.
Q&A with “Cyrano” costume designer
Question and answer with Donna Buckley, first-year costume designer at the Hilberry Theatre. Frank Langella’s Cyrano is the first production on the Hilberry stage for which Buckley has designed costumes.
Q: What brought you to the Hilberry Theatre Company?
A: I was a costumer at Oakland University for 11 years, and I wanted to further my education. I knew a lot about the Hilberry’s program, and I’m a nontraditional student with children. I needed to stay in the area for school. The Hilberry has a lot to offer while allowing me to stay close to home.
Q: What was your approach to the Frank Langella’s Cyrano costumes? What informed your designs?
A: Well, right away the director decided that he wanted to do this differently than a traditional Cyrano production because it is an adaptation, and it’s different than a typical Cyrano production right off the bat. It’s paired down to the bare bones of what’s necessary to tell the story. So you don’t have multiple soldiers, additional people, etc. Right away, he wanted to stay true to that and streamline our production. And, he didn’t want it historically stuck in one time period. And it isn’t. So, he wanted to have modern sensibility combined with the 17th century, which is a huge challenge. It was difficult. How do you meld two time periods that are completely different? For a lot of my research for the modern sensibility, I looked to runway fashion to see what was current, and oddly enough there’s a lot out there right now that’s reminiscent of 17th century fashion. They’ve taken corsets, for example, and tweaked them with a modern flair. So, I did that with the women’s corsets. They’re not accurate to the original period, but they maintain a hint of it. When you look at stuff from the 17th century it’s very heavy and silhouetted. My designs combine those two worlds, the present and the 17th century.
Q: What’s it like to work with the Hilberry Theatre Company?
A : Scary (laughs). Not that they’re scary. It’s just the process of doing your first design at the graduate level. It’s intimidating. What was difficult about it is that the process was during my first semester, and I was still getting acclimated to being a student.
Q: What’s your favorite thing about costume design?
A: What got me into costume design was acting. I played a role at the Renaissance festival where I was the Queen, and I was making my gowns. It was the combination of a love of acting, a love of theatre, and a love of history. With costume design you can combine all three. You can take all of those elements and be creative, and make characters come alive visually. It’s not that you’re performing on stage, but your clothes are performing on stage. You’re helping to create characters. The actor brings their elements, the director brings their elements, and then the costumer brings theirs, all to help flesh out this two dimensional character on the page into a three-dimensional character on the stage. I find that process exciting. It’s exciting that you can take theatre and change people’s lives and make them think about things that they wouldn’t normally think about. Sometimes it’s just frivolity, but sometimes it’s a statement that draws attention to an issue in society that we need to look at. Theatre can do that in ways that no other medium can. I like that.
Photo credits: Jillian Zylinski and Alexandra Stewart
Encore Michigan reviews “Cyrano”
‘Frank Langella’s Cyrano’: The play with panache
By John Quinn
Read original article here.
The French, they say, have a word for it. To sum up dash, flamboyance, swagger and verve, that word is “panache.” It leaped into English largely due to Edmond Rostand’s wildly successful 1897 play “Cyrano de Bergerac,” in which the title character not only embodies the traits, but makes “panache” his dying word.
Many artists have drawn inspiration from the 17th century poet, playwright and duelist with the big name, Hercule-Savinien de Cyrano de Bergerac, who, if tradition is right, had a big nose to match. Rostand created a romance of unrequited, unexpressed love Cyrano held for his cousin Roxane. But “Cyrano” runs about four hours in rhymed couplets, and is rarely translated or produced in that form.
Enter actor Frank Langella, who abridged the “heroic comedy,” removing extraneous characters and subplots, and played the title role in 1997. This script is given a stark yet lyrical treatment by an energetic cast at Wayne State’s Hilberry Theatre.
Cyrano, best friend and greatest soldier, considers himself unworthy of love because of his prominent feature. His life-long secret love, Roxane, confides she has fallen in love at first sight with a young recruit in Cyrano’s company, Christian de Neuvillette, remarkably handsome but a tongue-tied dolt. Rather than woo her for himself, Cyrano wins her for Christian, writing the poetry of which de Neuvillette is incapable. When Christian is killed on the battlefield, Cyrano continues the deception.
Under Blair Anderson’s taut direction, this “Cyrano” avoids extravagance. Even pared down, this script delivers a wealth of beautiful imagery. In the title role, Dave Toomey ably explores the subtext in his tortured character, playing both the humor and pathos with equal grace. Sara Hymes is a reserved, intelligent Roxane and provides a fine foil for the more out-going Christian, played by Topher Payne. Both Rostand and Langella are romantics, though, and the best dialogues are scenes between Toomey and Hymes.
One quibble – and that’s a point of translation. As Cyrano dies in Roxane’s arms (no spoiler there, I hope), he avows he will doff his hat before God and, “I will stand again and proudly show Him that one pure possession … Mon panache!” It’s often literally translated as “My white plume” – the feather on his hat. Langella renders it, “My shiny soul.” Considering all the power in that word, can anything replace “panache?”
Interviews with “Cyrano” director and actor
Langella’s ‘Cyrano’ is shorn of pomp
By Lawrence B. Johnson, Special to The Detroit News
Read original article here.
Topher Payne plays Christian and Sara Hymes Roxane in a production of “Cyrano” director Blair Anderson says is geared to modern sensibilities. (Hilberry Theatre)
If you boil Edmond Rostand’s epic play “Cyrano de Bergerac” down to its Freudian essence, the story of a great swordsman and poet who suffered from a sense of inadequacy, you have Frank Langella’s “Cyrano.”
It is Langella’s distillation, in which half the huge cast of characters and most of the subplots are removed from Rostand’s original, that Wayne State University’s Hilberry Theatre brings to the stage Friday night for a run through March 10. Director Blair Anderson calls it a “Cyrano” for modern sensibilities.
“This man is larger than life but has the same human foibles and insecurities that all of us possess,” says Anderson. “He is master of the sword and the word, and seemingly has the world by the tail. But he also has this one debilitating frailty. His nose is unusually large, and he believes it makes him ugly in the eyes of the world. So he hides behinds his nose. It freezes him.
“He loves the beautiful Roxane but doesn’t dare tell her because he fears she will reject him and his nose. So he chooses to dissemble at the very time he should be totally honest.”
The result is tragic. Rostand’s “Cyrano de Bergerac” has endured as one of the great modern romances, and even in that respect it is intriguing. Though set in mid-17th century Paris, the play actually dates from 1897. Moreover, in keeping with its historical setting, Rostand devised the work entirely in rhymed couplets. Langella, who based his adaptation on Brian Hooker’s 1923 English translation, dropped the couplets in favor of conventional dialogue.
While “Cyrano” involves a love triangle, it’s not quite the classic case of two hearts competing for the favor of a third. Unwilling to reveal his love for Roxane, Cyrano sublimates his affections by lending his poetic gifts. He writes amorous verses for one of Roxane’s suitors, Christian, a handsome albeit witless young soldier. Through his mentor’s words, Christian readily sweeps Roxane off her feet. In the end, Cyrano loses even that indirect connection to his beloved and must play out his life near Roxane but with his heart in silent hiding.
“Langella’s adaptation is very American,” says Anderson. “It deals with psychological realism. Those who want all the pomp and grandeur may be disappointed. We’re trying to avoid period style to focus on motivation and the decisions that each character — Cyrano, Roxane and Christian — have to make.”
Dave Toomey, a third-year member of Hilberry’s graduate acting program and a native of Lansing, plays the brilliant but conflicted Cyrano. Even in Langella’s reduction, he says, the swordsman-poet’s generous and poetic language is a challenge to bring off.
“Cyrano likes to elaborate. He never makes his point simply,” says Toomey. “Every time he speaks it’s a three- or four-minute monologue. The trick is to understand why he keeps talking when we get it already. It’s similar to Shakespeare in that you have to speak as if it were everyday language. To drive through Cyrano’s monologues, you have to make it as casual as possible.”
At the same time, says Toomey, Langella’s concise treatment of the story brings to mind the terse, crisp style of playwright David Mamet.
“It’s quick,” he says, “but it doesn’t compromise character development.”
“Cyrano” Scenic Design Research
Guest scenic designer and Hilberry Theatre alumnus Greg Loftus researched Paris and the Art Nouveau style as inspiration for his design for the upcoming production of “Frank Langella’s Cyrano.” Here are some samples of his research and his initial model of the set. “Frank Langella’s Cyrano” opens this Friday, January 13, 2012.
Announcing the 2011-2012 Hilberry Season
Since 1963, the more than two million guests that have passed through the Hilberry Theatre have been inspired by the passion and portrayal of the human condition, which has made them laugh, cry, engage, question, applaud and cheer. The 2011-2012 lineup continues this tradition of exceptional storytelling through the classical works of William Shakespeare, Tennessee Williams and George Bernard Shaw. The season subscription also includes two musicals and a Tony Award-nominated playwright. Now, as the Hilberry enters its 49th year, it’s time to draw back the curtain and reveal a season characterized by triumph, romance and inspiration.
The 49th season opens with the musical comedy A Day in Hollywood/A Night in the Ukraine, by Dick Vosburgh and Frank Lazarus. These two, one-act musicals constitute a double-feature presenting the hilarious heyday of Hollywood. The first act, A Day in Hollywood, takes us to the lobby of Grauman’s Chinese Theatre in the 1930s, where the ushers sing a musical tribute to the screen stars and productions of that magical era. The second act, A Night in the Ukraine, is the funniest musical the Marx Brothers never wrote – sweeping us away to Russia for a madcap evening presenting all the usual Marx Brothers suspects, and featuring music by Cole Porter, Jerry Herman, Johnny Mercer, Harold Arlen, Hoagy Carmichael and Frank Loesser. A Day in Hollywood/A Night in the Ukraine will run September 23 – October 15, 2011.
Next, the Hilberry presents one of the most popular and charming of Shakespeare’s comedies, Much Ado About Nothing. Young love blossoms as Hero and Claudio race to the altar, while Beatrice and Benedick hide their infatuation beneath sparring banter. Yet, not all is fair in love and war as the villainous Don John plots against the happy couple. Witty wordplay, passionate poetry and clever plot twists make this story a vibrant and comic celebration of life and romance. Much Ado About Nothing will feature student matinee performances and run October 28 – November 19, 2011.
The Cripple of Inishmaan by Martin McDonagh is third in the lineup. Tony Award-nominated playwright, Martin McDonagh, weaves a heartbreaking comedy about a rural 1934 Irish community’s brush with Hollywood. Based on actual events, an American filmmaker captures the imagination and enthusiasm of the people who inhabit a remote Irish island, but no one is more excited than “cripple” Billy Claven, whose chief occupation has been gazing at cows and yearning for his inspiration – a girl who wants no part of him. The Cripple of Inishmaan runs in rotating repertory December 2, 2011 – February 4, 2012.
The season continues with Frank Langella’s Cyrano an adaptation of Edmond Rostand’s Cyrano de Bergerac. The gifted poet and swordsman (and incredibly large-nosed) Cyrano de Bergerac finds himself in love with the beautiful Roxane, but he’s not the only one. Christian, a handsome soldier, is also in love with her. Cyrano devises a scheme for them to both express their feelings without Christian learning of Cyrano’s feelings. However, the ruse crumbles when the plan goes awry and Cyrano’s enemies begin plotting against him. Cyrano plays in rotating repertory January 13 – March 10, 2012.
The year 2011 marks the 100th anniversary of the birth of Tennessee Williams, and to celebrate, the Hilberry will present Williams’ Summer and Smoke. In this sultry Southern tale, Alma cannot resist her attraction to the rakish and inspiring young doctor who lives next door. Though John is also drawn to her, their relationship becomes an emotional battle of wills when her spiritual devotion is pitted against his sensuous need for physical desire. Neither triumphs and in the end, roles reverse. Summer and Smoke plays in rotating repertory February 24 – April 21, 2012.
The Hilberry Theatre will close the 49th season with George Bernard Shaw’s clever comedy, Major Barbara. In this witty tale, a millionaire armaments dealer loves money. However, his inspired daughter, Barbara, is a devout Major in the Salvation Army who sees her father as just another soul to save. Yet when the Salvation Army needs funds, the father triumphantly saves the day. Major Barbara plays in rotating repertory April 6 – May 5, 2012.
Included in the Hilberry subscription package is the heartwarming musical Hairspray by Mark O’Donnell, Thomas Meehan, Scott Wittman and Mark Shaiman. Hairspary will be performed at the historic Broadway-style Bonstelle Theatre and will feature 1960s dance music and rhythm and blues. Pleasantly plump teen Tracy Turnblad has only one desire – to dance on the popular Corny Collins Show – and she does! Triumphant Tracy is transformed from social outcast to sudden star, but she must use her newfound power to vanquish the reigning Teen Queen, win the affections of heartthrob Link Larkin and integrate a TV network – all without denting her ‘do! Hairspray is performed at the Bonstelle Theatre April 13 – April 22, 2012.
In addition to the seven-play package, Michael Frayn’s Noises Off may also be added onto the Hilberry subscription! Noises Off will be the season opener on the Bonstelle stage and is one of the most inspired farces ever written. This folly presents a manic menagerie of itinerant actors rehearsing a flop. Out-of-control egos, memory loss and passionate affairs turn every performance into a high-risk adventure. Progressing from flubbed lines and missed cues in rehearsal to mounting friction between cast members in the final performance, Noises Off is a comic triumph of slamming doors, falling trousers and flying sardines. Noises Off is performed at the Bonstelle Theatre October 14 – 23, 2011.
With an upcoming season that is sure to be one of its best yet, the Hilberry Theatre Subscription Package is looking better than ever. Subscribers will get the most out of this 49th season by taking advantage of the opportunity to see all seven shows for as low as $112, and adding an eighth show for only $10 more. Subscribers are an integral part of the Hilberry community, as they enjoy discounted prices, priority seating, exchange privileges, lost ticket insurance, a free subscription to our newsletter and an invitation to the annual Subscriber Party and Open House. Season subscriptions are on sale now!
To subscribe, call (313) 577-2972 or visit the Wayne State University Theatre Box Office at 4743 Cass Avenue on the corner of Hancock. For a convenient alternative, subscriptions may now be purchased online at http://www.hilberry.com.
All play titles and dates are subject to change.
Season subscriptions on sale now!
Don’t forget to join us for our 6th annual Subscriber Party and Open House to preview the shows in our 49th season subscription package on March 6, 2011! Come and enjoy short previews of each show from next season and complimentary refreshments, mingle with the Hilberry Company, tour the theatre and the Production Center, and receive a free gift upon subscription renewal or purchase! Doors open at 12 p.m., preview performances begin at 2 p.m., and admission is free. The Hilberry Theatre is located at 4743 Cass Ave. on the corner of Hancock. Please R.S.V.P. to Becky Pierce by calling 313-577-0852 or by emailing rebecca.pierce@wayne.edu.
The Hilberry Theatre 