The story is as familiar as that of the sword in the stone or the vacillating Danish prince. Swashbuckling solider-poet Cyrano loves his winsome cousin Roxane, but despite his valor and popularity among his comrades his huge nose prevents him (or so he is convinced) from being taken seriously in matters of the heart. Learning that his beloved has taken a shine to another soldier, and that the handsome but tongue-tied Christian loves her back, Cyrano swallows his pride and settles for wooing Roxane indirectly by feeding Christian the high-flying, romantic poetry and wit Roxane demands.
The ruse is working, but Colonel DeGuiche, a jealous suitor, sends Cyrano and Christian's unit on a dangerous mission to the front lines just after Christian and Roxane have, with Cyrano's anguished help, hurriedly wed. Misunderstanding and tragedy carry the day, until the truth comes out years later when it's too late.
Though the story is familiar, we don't often get the chance to see it up close on a small stage, and certainly not with as fine an actor as Daniel Wolfe in the lead role. Mr. Wolfe's commanding performance in this Queens Players production – passionate, witty, antic, elastic, full-throated – is nearly enough all by itself to carry the weight of this very long (even though somewhat cut) production of Edmond Rostand's century-old classic. And fortunately, Mr. Wolfe is not alone, getting able backup from Anthony Martinez – who was a spirited Orlando in the company's recent As You Like It – as a suitably comical yet sympathetic Christian, and from a charming if slightly less sure-footed Sarah Bonner as Roxane. Ms. Bonner seemed to warm up as the long evening rolled on, perhaps inspired by Mr. Wolfe's blistering presence.
Of the supporting cast, some are quite good, while others turn in merely adequate performances, and there are one or two glaring failures. A more general problem mars the production as well. It's very difficult to understand what's going on during the lengthy opening scene, which is supposed to give us a cross-section of Parisian society before Cyrano's entrance; though the scene is briskly paced, some dialogue is lost through a combination of poor diction and the echoey sound of the Queens Players' new, larger space in the Long Island City Art Center (you can still smell the paint). Overall the ensemble scenes are prone to weakness. Rostand's picture of the society in which his heroes move, which ought to be sharp as tacks, comes through hazily at best.