When one hears of a new mounting of
Man of La Mancha there is usually an
audible groan. “Not that old warhorse of
a musical, again.” However, as with the
current production at the Ivoryton Playhouse, when the show is staged with an absorbing
and exhilarating professionalism it is not to be missed.
The musical is a show within a
show. It centers on Miguel de Cervantes
(David Pittsinger), along with his manservant (Brian Michael Hoffman), who have
been thrown into a dungeon during the Spanish Inquisition. They are put on “trial” by the other
prisoners and, as his defense, Cervantes weaves a tale of adventure and
righteousness aided by the other prisoners awaiting their fate.
He now becomes Alonso Quijana, a
learned man who has read too many books on chivalry and injustice that he has
lost his mind. Renaming himself Don
Quixote he and his manservant/squire, Sancho Panza, set out to combat
oppression. His tale includes, among
others, an irascible barmaid, Aldonza (Talia Thiesfield), now named The Lady
Dulcinea; an innkeeper; Don Quixote’s niece; her fiancée, played by one of the
prisoners known as “The Duke” (David Edwards); and padre (Matthew Krob).
Librettist Dale Wasserman adapted
the musical from his play, “I, Don Quixote” which, in turn, is based on the 17th
century novel, Don Quixote, by Miguel de Cervantes. The device of a play being enacted within
the show works well. It can sometimes
become a bit convoluted and hard to explain, but it allows the production to
open up and portray many characters and sets that would, otherwise, be
unworkable. The themes brought out in
the show, such as being true to your beliefs, standing up to your ideals and
passions, and facing our fears, are universal.
They are, in part, what make Man
of La Mancha such a perennial favorite among theater companies.
Composer Mitch Leigh and lyricist
Joe Darion have crafted one of the finest scores to come from a Broadway
musical. Almost every song is memorable
and range from rousing anthems, comedic gems, and plaintive ballads. They include the title song, “Dulcinea,” “I’m
Only Thinking of Him,” “It’s All the Same,” and “The Impossible Dream.” The very talented cast has rich and powerful
voices that melodically resonate throughout the venerable playhouse.
The cast is led by David Pittsinger
as Cervantes/Don Quixote. He perfectly
embodies both characters. He has a
commanding presence on stage whether playing the somber, matter-of-fact
Cervantes waiting for his time before the inquisition or as Don Quixote, the
slightly mad, righteous knight. His impressive
voice brings depth and brilliance to each of his songs. Brian Michael Hoffman as his
manservant/Sancho Panza while, at first, coming across as more a fool, quickly
demonstrates he is a man not to be trifled with. His love, admiration, and genuine caring for
his master rings true. Talia Thiesfield’s take charge, independent-minded
Aldonza/Dulcinea can be as cantankerous as an aggrieved hornet or as disconsolate
as a discarded child. She displays
strength and vulnerability in her role. James
Van Treuren is a demanding, forceful overseer of the prison cells as their
Governor and is a touch more magnanimous as the Innkeeper. David Edwards, with a leer and a
self-important gait, gives his characters “The Duke,” a prison rapscallion, and
Dr. Sanson Carrasco, fiancée of Quixote’s niece, a pompous, haughty air.
David Edwards, doubling as
director, takes a firm rein to the production, keeping its pacing brisk. He assuredly handles the back and forth
between reality and make believe. Two
central scenes—where Aldonza is brutally attacked and carried away by the
denizens of the inn and the Knight of the Mirrors, where Don Quixote is,
literally, faced with his demons, are handled with confidence and aplomb.
Scenic Designer Daniel Nischan has
constructed a simple set of connecting platforms, but they serve their purpose
well, both as hiding places for the prisoners and as basic building blocks for
the tale Cervantes tells. Along with
Lighting Designer Marcus Abbott they have created a space that is confining as
well as liberating.
Man
of La Mancha, a production to be savored and applauded, through October 2nd.
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