Playwright: adapted by Matt Hawkins from the play by Edmund Rostand. At: House Theatre of Chicago at the Chopin, 1543 W. Division St. Phone: 773-769-3832;$25. Runs through: Oct. 16
The rock 'n' roll score that welcomes us into the auditorium could herald any House production, but when a covey of courtiers clad in quasi-cavalier drag saunter into the room, greeting audience members in unmistakably midwestern accents, we suspect that this will not be the traditional Cyrano de Bergerac. Our premonitions are confirmed when an effete Josh Grobin-like Cyrano sits down at a piano to croon a "Who am I?" soliloquy, before being joined onstage by a football-jock Christian and a gushy Roxane wearing what appears to be a prom gown.
The premise of the nerdy swain who woos fair lady for his faint-hearted comrade can beindeed, often has beeninclined toward a variety of dramatic genres with its resiliency undiminished. Matt Hawkins' abridged text cuts to the essence of Edmund Rostand's conflicted hero: "I wanted to be the best at everything," confesses our beaky protagonist. "It's not your nose, it's how you feel about it," best-buddy LeBret consoles him. "II can't find mymy mouthwords!" stammers the inarticulate Christian. Fortunately, the venerable Brian Hooker translation makes a few cameo appearances when heavy lifting is needed for the more emotive episodes.
Flowery eloquence is particularly exigent for the balcony scene, since Kevin O'Donnell's curiously insipid original songs are unlikely to inspire paroxysms of ecstasy. The sole moment justifying music's live performance is when Roxane, after hearing of her beloved Christian's death in the line of duty, comes upon Cyrano at the piano playing a dirge. Without a word, she sits next to him, taking up the melody for a four-handed serenade to their sorrow. Hawkins' choreography for Cyrano and Christian's final stand against the Spanish foe likewise reflects the fraternal bond engendered by their shared affection, the latter holding off the enemy charge, a saber in each hand, in order to guarantee the former's safe return to the woman they both love.
This parable of sacrifice loses none of its power for being reduced to a Classics Illustrated graphic novel. The actors deliver uniformly vigorous portrayals of their plot-mandated personalities, while the technical team takes full advantage of the expansive playing area provided by a gallery surrounding the stage's perimeter. The results may not be the definitive Cyrano de Bergerac, but its two-hour running time makes this an interpretation tailor-made for youthful attention spans.