Like Snow White, Mary Poppins, or Pinocchio, certain characters are part of our collective memories. Just as we have had various incarnations of these characters from their original darker, melancholy versions on through their Disney movies, and low budget direct to video kids' movies and their partner's, the porn versions, we are getting a new version of a familiar tale with CYRANO.

Cyrano de Bergerac has existed as a romance, a cautionary tale, and, not too long ago, Steve Martin's comedy ROXANNE. Now, the Court Theatre and Redmoon Theater have teamed up to create a brand new version, an amalgam of the previous versions, and something totally new. The romance, comedy, and melancholy are still there, but the puppets are a new addition.

Puppets? Yep. Maybe you've never seen a Redmoon show before, but puppets are their passion. Here, the puppets operate to the service of the story, along with masks and a quick piece of shadow theater.

Fans of the original 19th century play by Edmond Rostand may be initially put off by the drastic rethinking of the narrative. Rearranging scenes, so that the first half is a memory in Cyrano's head doesn't alter the impact of the conclusion in this new rhymed verse translation by Mickle Maher.

This solid production is aided greatly by Andre Pluess and Ben Sussman's excellent David Lynchian sound design and Stephanie Nelson's Rube Goldberg set. The surprises never stop coming, and are most rewarding when the most simple.

This co-production is directed by Redmoon's Jim Lasko (responsible for the too successful Logan Square All Hallow's Eve celebrations) and the Court Theatre's Charles Newell. Together, they tell the story of the eponymous man, who can't see past his own big nose. When Christian, a soldier in Cyrano's regiment comes sniffing around, trying his best to snare Cyrano's loved-from-afar Roxane, Cyrano helps Christian woo her. With Cyrano's poetic and romantic words flowing from his mouth, the new boy is a sure thing, but where does this leave Roxane and Cyrano?

And where does it leave us? Cyrano is kinda gruesome, and Christian is cute in a soul patch skinny kind of way. Not really Papi material, so maybe it's best that the play takes the side that love is blind to the pretty boys. Instead, love focuses on Cyrano - a fighter, a wit, a tough guy with more courage than all those in his regiment.

Allen Gilmore, seen last season in Court Theatre's SCAPIN, is Cyrano, and he is backed up by seven other actors, who together play the almost 100 roles. Gilmore's Cyrano is smartly passionate and quick witted, at ease in the role, and easily making the audience believe that the quips and stings are truly being composed on the spot. And, although it clocks in at about one hour less than the original play, this two hour, intermissionless CYRANO, never gives Gilmore a break. He is on the stage 95 percent of the time, and his energy never flags.

Chaon Cross brings heartbreak and high comedy to Roxane, generating the most laughs when she begs the unwitting Christian to follow up on the poetry she has read in his - really Cyrano's - letters. A cross between Madeleine Kahn and Judy Tenuta, Cross matches Gilmore's ability to shift from comedy to tragedy in seconds.

Hopefully, your life is full of comedy, but if a Papi is involved, chances are your drama never stops coming. But, don't let him hear you complaining.