By John Lyle Belden

It is wonderful to see a well-staged production of a timeless story, but in five acts? Fortunately, the Indiana Repertory Theatre’s “Cyrano” uses the adaptation of Edmond Rostand’s “Cyrano de Bergerac” by Jo Roets, which slims the story down to its essence, an elegant economy of words that would impress the titular legendary French noble.

In fact, one of the original play’s most famous scenes – Act 1, Scene 1.IV, in which Cyrano cleverly comes up with every possible insult for his famously large nose – is related by the actors at the very beginning, to set the scene. That this is a man of incredible wit and passion, yet sensitive about his appearance, is foremost; that the story takes place in mid-1600s France is incidental.

Cyrano, leader of the noble Cadets that serve with the French Army, is renowned for his dueling prowess as well as his poetry, but while he can defend his heart from a blade, he aches for his cousin (distant in family, close in relationship) Roxane. As he considers confessing his love for her, she tells of her love for the handsome Christian, a new Cadet that she wishes Cyrano to take under his protection. This is not her only concern: The tedious Count de Guiche (Cyrano’s commander) wishes to marry Roxane himself.

While remembering his promise to not fillet Christian for mocking his schnozz, Cyrano hears the young man say that he, too, is in love with Roxane, but is at a loss with “words of love.” Thus comes the plan for the noble poet’s words in letters delivered in the handsome Cadet’s name. The plan is endangered, however, when she wishes to hear Christian woo her in person, resulting in likely the second most famous balcony scene in all of theatre.

Ryan Artzberger is Cyrano; the IRT regular slips into the role as he has done so many others, with all the heart-on-sleeve panache he can muster. Melisa Pereyra is also sharp as Roxane, strong-willed and clever, a heroine in her own right. Jeb Burris takes on nearly all other roles, notably Christian and de Guiche – nimbly transforming between the very different rivals, in voice and manner as well as costume, helping us to love the former and detest the latter.

Direction is handled by the IRT’s Margot Lacy Eccles Artistic Director – essentially, the boss – Janet Allen. Burris choreographed the swordplay. A simple but effective stage is designed by Russell Metheney, and costumes are by Linda Pisano.

Also notable is Cyrano’s prosthetic nose, by Becky Scott. It is imposing and hawkish, much like on the portrait of the historical figure on whom the play is based, and not an absurdly exaggerated ski-slope like one often sees.

With an approximately 90-minute run time, this exciting and endearing drama would be an excellent alternative to streaming an old movie (or most new ones). The play was recorded by WFYI Public Television and can be viewed at irtlivevirtual.com through May 9.