There’s something universally French about Edmond Rostand’s titled hero in his famed 1897 play Cyrano de Bergerac. In rare circumstances, writers capture the psyche of a country in one characterization; Cyrano, very loosely based on a real seventeenth century poet/philosopher/individualist, puts forth the attributes that every Frenchman seems to desire and that drives most non-Francophiles up the wall. Still, no matter your feeling about the land of escargots and rabid non-NATO participation, Cyrano with his obscenely long proboscis, his homicidal/suicidal bravery, and his unshakably entwined senses of duty and panache, is a character that everyone can love. Southwest Shakespeare is one of the few valley companies that I would trust with this exquisite (and a little bit long-winded) tale. Once again, they prove this trust well-founded. Under David Ellenstein’s fast-paced direction, a large and well-chosen cast headed by Richard Baird’s Cyrano and Stephanie Dodd’s Roxane keep most every sentimentality, joke, and dramatic turn fresh and engaging.

Ellenstein is not afraid to use the entire theatre to bring this classic directly into the audience. He also is not afraid of giant cast scenes, finding ways to keep everyone onstage doing interesting bits without drawing attention away from the main action. This attention to detail keeps potentially overly loquacious scenes visually interesting without being distracting. This is a true talent. Of course, he has little need to worry with Baird, Dodd, and the stage-filling Kim Bennett as the Comte de Guiche vocalizing Rostand’s glorious prose (in its most dynamic translation by the late Anthony Burgess of Clockwork Orange fame).

Baird is the perfect blend of boisterous, fanatical, and colorful. His voice is strong, his pronunciation flawless. On the opening Saturday, his prosthetic nose started to slip off in the middle of the first act. With a flourish befitting his charge, he ripped it off and flung it to the wings, continuing on keeping his references intact and allowing the audience to imagine the rest. That’s someone who is living his character. Dodd’s Roxane is a spitfire, so full of sweetness and just a touch of attitude. Bennett is a talent who makes all of his characters seem immediate, visceral. His de Guiche is off-handed and dangerous.

The large ensemble backing up this trio has many standouts and few hesitations. Sandy Elias’ Ragueneau is full of joy and optimism. Rick Shipman’s Montfleury is a grandly comedic creation. Many others get their moments to add to the pageant.

Kimb Williamson has created a unit structure that smoothly transforms into many different locations. Paul Black’s lighting significantly aids in those transformations through a whole host of color and gobo choices. Lois K. Myers’ costumes are up to her usual level of greatness, especially in the creations for the women and the aristocrats.

This is a great way for Southwest Shakes to end a season of expansion. I recommend this to anyone who understands the importance of panache.