In Quintessence Theatre Group’s rollicking new production of  “Cyrano de Bergerac,” the play’s eponymous hero rages in torment for more than two hours in a familiar story that is equally tragicomedy and farce. Cyrano, who is in love with his cousin Roxane, has a monstrous nose that so mars his physical appearance that he is afraid to tell her of his affection Though they have been friends since childhood, Roxane lacks awareness of his passion. 

Roxane loves Christian, a recruit in Cyrano's army brigade. She asks Cyrano to protect him. Crushed by this revelation, Cyrano still stays true to his love. He does protect Christian, and with poetic verve, composes love letters for Christian to sign. When Roxane is baffled by the disparity between the eloquent letters and Christian's tongue-tied presence, Cyrano whispers words for Christian to say. 

J Hernandez sparkles with his sure-handed grasp of Cyrano. He is careful not to ham up the hero's plight with thrashing about.  His speech is unpressured yet you feel the character's torment. Hernandez smiles winningly to mask Cyrano's despair and his sad expressions are not understood. Cyrano hides in public view, letting his letters and swordplay do the talking. 

Cyrano de Bergerac was an actual historical character. A swashbuckling soldier in the 17th century, he was wounded in the Siege of Arras in 1640. Retiring from military service, he turned to writing to rebel against the social and political conventions of his day, and against the literary standards of French classicism. 

Historical Cyrano was best known for his novel about a trip to the moon. It was a platform for rebellion as his moon men stood for values directly opposed to the French ones. The worth of the individual moon man showed up in the length of his nose: the longer the nose, the greater the man.   

Cyrano's life became a lodestar for Edmond Rostand. He, too, rebelled against conventional standards in morality and politics, as well as the fin-de-siècle triumph of literary naturalism. In Rostand's 1897 play, Cyrano is the epitome of the romantic idealist. The small-nose quality of the play's other characters makes Cyrano's star shine more brightly. 

In this well-cast show, Christian is the perfect foil. Daniel Chase Miller's Christian is the more imposing physical presence. But compared to Cyrano, Christian is dull. When he does speak, Miller howls his words like a wounded animal.  

Erica Lynn Bridge is upbeat as the beautiful Roxane whom all the men desire. With her pert physical movement, Roxane always looks like she is about to break out in dancing - a few times she does. Though naturally clever she never figures out that Cyrano and Christian are tricking her. 

But Roxane easily sees through De Guiche (Tim Dugan). This nephew of Cardinal Richelieu lusts after Roxane and tries to set her up to be his mistress. Yet De Guiche is the only character in the play who changes. He comes to realize Cyrano's idealism is authentic. He still lusts after Roxane, but the softening of his villainy stops the play from bogging down into good vs. bad people's territory. 

Quintessence uses the "Freely Adapted" version of "Cyrano" by British playwright Martin Crimp. Some story facts are altered. For example, Cyrano is mortally wounded in swordplay, not by a falling log. The biggest change is the revised dialogue. As though challenged by the literary daring of Rostand and the historical Cyrano, Crimp curbs the flowery rhyming of the play and mixes in a cursing, rap music inflection. 

Colorful language shares the stage with physical spectacle. Under director Alex Burns, the many ensemble sword fight scenes are a choreographic wonder. The on stage combat, supervised by fight director Ian Rose, is further enlivened with dramatic smoke, light and sound effects, courtesy of lighting designer John Burkland and costume designer Sydney Dufka.

In a glancing way, "Cyrano" touches on many themes. It is a play about language that shows words can be glorious as well as a way of lying, a duality that mirrors the duplicity of the Cyrano/Christian wooing. The contrast between outer and inner beauty is on display. "Cyrano" raises questions about honor and loyalty in relationships. It upholds the value of freedom and suggests that social conventions lack the power to consume the energies of its most creative individuals. 

Above all, "Cyrano" is a play about a vibrant individual. In the long horseplay of Act One, Cyrano is slow to appear. When he does show up, he holds the stage. When not on stage, you only ask, "Where is Cyrano?" The focus always comes back to him. All the passion and tumult you see in other characters seem like mere reflections of his turmoil.

To use Rostand's favorite word, Cyrano shows "panache" in the face of danger and death. And that is quite "a feather in his cap."

Quintessence Theatre is located at The Sedgwick, 7137 Germantown Ave.  "Cyrano" will run through Oct 20. Tickets available at 215-987-4450 or at quintessencetheatre.org