In a very delayed premiere, Cyranothe classic of Edmond Rostandreturned to the San Martín theater where he saw memorable versions, this time with the leading performance of Gabriel Goityin a spectacular, although tedious montage that is overwhelming due to its slowness, lack of humor and emotion.
Let us remember that, in the same theater, at the beginning of the nineties, an excellent version devised by Claudio Hochman was offered in a children’s key, with Federico D’Elia and Valeria Bertuccelli, among others. Without forgetting the iconic one with Ernesto Bianco, directed by Osvaldo Bonet, in 1977, a true theatrical success, interrupted by the death of the great actor, to whom this production is dedicated.
Immortalized in theater and cinema, the authentic and Parisian Hercule-Savinien of Cyrano de Bergerac (1619-1655) was a man worthy of his character and even more controversial than how he was portrayed. His adventurous life was on par with his literary production, in which he let his imagination fly without limits and fiercely caricatured men and institutions without caring about the position they occupied. At only 36 years old, he left a deep mark on art: Molière was inspired by his satirical works – or according to some, he plagiarized them -, the writer Arthur C. Clarke praised him as a pioneer of science fiction for his construction site The other worldin which he describes in first person a trip to the Moon and another to the Sun.
In turn, Edmond Rostand immortalized his adventurous and cheeky side, and rescued him as a prototype of a romantic hero. Rostand’s piece, premiered in 1897, is loosely based on his life and presents us with an unattractive soldier, self-conscious about his gigantic nose, restless and bully, cultured and poet. A philosopher of freedom who does not hesitate in the face of danger, but is unable to confess the love he feels for his beautiful and capricious cousin Roxanne.
In the well-known plot, the young woman is in love with Christian de Neuvilette, a handsome, although not very clever, cadet. For this reason, Cyrano makes a pact with him to write love letters to the girl, as a way of expressing her feelings. Impressed by the poetic flight of the letters, she confesses moved that, although love began for physical attractiveness, now it is for her soul and she would love him, even if he were ugly. Originally from opera, director Willy Landin, who here multiplies his duties as translator, adapter, costume designer, composer of the original music, co-creator of the scenography, lighting and audiovisual images, nothing less, imposes a staging era that privileges the aesthetic, but completely lacks rhythm.
In the more than three hours that the show lasts, interval included, the group or intimate scenes happen with astonishing slowness and, due to sound problems, understanding and narrative progression of them is lost at times. Furthermore, the changes from one act to another are prolonged for too long in the viewer’s view, without anything relevant happening.
An unresolved issue is that the scenes move slowly.The missing pillars
However, the most striking thing is that, in the final result, the fundamental pillars that support, even today, the universal fame of this classic are absent: humor and emotion. It’s not even enough to deal with the irony of the protagonist and the text, or the hilarity of some situations. Just as Christian and Cyrano’s deep confessions of love and unjust deaths on stage are not moving either.
Left to their own devices, the actors’ performance is only sustained by their own craft, since in many moments they are on stage without performing physical actions, in an uncomfortable stasis. For this reason, the proverbial abilities of Mario Alarcón, Daniel Miglioranza, Iván Moschner and Mariano Mazzei emerge intact, although solitary.
Finally, the talented Gabriel Goity, in this leading role that he confessed to having dreamed of playing, seems uncomfortable and without the director’s restraint, despite brief glimpses in which both his comedy and genuine drama emerge.
Of: Edmond Rostand. Translation, adaptation and direction: Willy Landin. Con: Gabriel Goity, María Abadi, Mariano Mazzei, Mario Alarcón, Daniel Miglioranza and cast. Sala: San Martín Theater, Martín Coronado Room, Av. Corrientes 1550.