In 1899 Courier article Cather writes: "Undoubtedly the conservatives are right in saying that this is a play of embellishments, of accessories. Even the famous nose itself is but an accessory, a trick of make-up, a foil for the romantic and chivalrous soul which it disguised. Yet is not the very fact that this play is so entirely a play, that it calls out all the resources of the modern theatre, makes such demands upon the costumer, the scenic painter, the property man, the gas man, and at the same time exhibits high literary quality the most encouraging feature about it?.... henceforth this Cyrano de Bergerac will stand for these pent-up souls and thwarted passions; for the prima donnas born without voices, the mothers who die childless, the lovers who never speak, the painters who are color-blind, the cross-eyed Aphrodites, and heaven knows the world is full of these victims of nature's unkindness."
In a September 1899 Courier Cather writes: "One of the most daring innovations ... was its long list of dramatis personae."