Robert Kelley's Cyrano De Bergerac

In the theater version of Cyrano de Bergerac, Director Robert Kelley faced several problems in thoughtfully expressing the theme of the play. Because the play involves a love triangle around three characters with different quality of appearance, one theme can be that appearance prevents one from realizing the true identity of a person. In a small theater, the director had to devise an efficient plan that successfully conveyed the theme with limited space and a few actors. The director also had to modify some scenes in order to fit the whole play in a short amount of time. Despite some miscasts in the actors, the director managed to emanate the meaning of the play through appropriate stage props and script. To style the scenes as accurately as possible, it
Because of the limited space available on stage, Kelley used props that served for multiple purposes. One prop was the moon, which appeared in most of the scenes where Cyrano undertook mental changes. The moon served as both background that shaped a mood and a symbol for Cyrano’s inner feelings. The moon indicated that it was night and the setting was outside. This was helpful for the audience to understand the situation of the play. The moon also served as a symbol that corresponds with Cyrano’s love for Roxane as the play goes. The moon is enlarged in the balcony scene where Cyrano confesses his love to Roxane as Christian. The moon is large because he is not concerned with his appearance in this scene since he is in the darkness and Roxane cannot notice that Cyrano is the one speaking to her. Cyrano is confident in this scene because his appearance is insignificant to him in this scene. The moon is a fake moon in the play within the play in the first scene because Cyrano feels that his appearance is a barrier in between Roxane and him. Overall the props on stage serve multiple purposes to convey the meaning of the