Si un internaute cyranien veut bien traduire et extraire la substantifique moelle de ces articles, surtout, qu'il se sente libre de le faire...
Reviews from the site http://www.aboutjohncullum.com
"John Cullum's Cyrano bestrides each scene like a Colossus, revealing the full range of emotions raging inside this epic figure. Wit, disdain at the cowardice of his enemies, self-consciousness about his wretched quirk of nature, his ridiculous nose which constantly rocks his self-esteem -- all these facets Cullum reveals with unerring skill. Above all, however, it is his unswerving, heartfelt and lifelong passion for the lovely Roxane that constantly captures us and melts our sensibilities. We really feel with this man who thinks love is closed to him because of his imagined ugliness." William West, Syracuse Post-Standard, 1/7/84
"Cullum's a gallant and witty Cyrano...Cullum's mellifluous voice is like an orchestra as it rises and falls, taunts and teases, yearns and burns with desire for his beloved. His every movement is purposeful as he glides and gambols with impish delight up and down the spectacular 36-tiered stage..." Paula Crouch, « 'Cyrano de Bergerac' triumphs. John Cullum leads superb cast in poetic Alliance production », Atlanta Journal & Constitution, 9/7/84.
"The Edwin Booth Encomium for Old-Time Acting Excellence: To John Cullum, who proved a Cyrano of all seasons in what stands...as the finest single performance ever offered at the Carpenter Center. By pulling all of the long-nosed Cyrano's contradictions into one larger-than-life and gloriously appealing human being, Cullum made the theatrical embers of the 19th century -- that era of the great actor -- burst into flame on a late 20th century stage." Roy Proctor, Richmond (VA) News Leader, 5/1/86 (recap of the 1985-86 touring season).
"The recent Royal Shakespeare Company version of "Cyrano de Bergerac" has been bested... Rostand's impossibly romantic hero, the noble Cyrano, a man whose eloquence is mocked by the size of the nose, is played by John Cullum in a performance of dazzling charm. Bending the brim of his plumed hat over the peninsula of his nose as he advances his arguments, Cullum has such a good high time in the beginning moments of the play that he's irresistible. His attitude alone sweeps us with him, carries us through the somewhat clotted exposition as though it were an outline. So secure and certain is he, nothing could possibly stand in his way, nothing, that is, except the awful force of unrequited love. When Cullum gets to the hurt in Cyrano's soul -- the lifelong love he has for Roxane which she has sorely mistaken and casually demeaned -- the ache is in his voice, his eyes, his movement." Kevin Kelly, Boston Globe, 11/21/85.