Review of Man of La Mancha, Ivoryton Playhouse
As musicals go, the reworking of Miguel de Cervantes’ classic tale of the adventures of Don Quixote, otherwise simply Alonso Quijana of La Mancha, is pretty powerful stuff. Written by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion, Man of La Mancha is probably best known as the source of the rousing standard “The Impossible Dream” (which I remember being covered on variety shows often in my youth), but it also uses an intriguing play-within-a-play format to establish that Quixote is not only the fantasy life of Quijana but also the alter-ego of his author Cervantes.
Imprisoned by the Inquisition, Cervantes (David Pittsinger) is placed at the mercy of his fellow prisoners and pleads with them to hear his story about Quixote, which he then enacts for them while also pressing them into service as other characters in the tale. It’s a great theatrical idea and makes for involving storytelling as we move between the frame in the dungeon and the roadway and inn and other settings of Quixote’s story.
At Ivoryton, Daniel Nischan’s set places a huge platform in the center of the stage that makes for a somewhat shallow playing space stage front. While the higher space is used to good effect now and then, the area might have afforded more freedom of movement; at times Todd Underwood’s choreography feels a bit constrained and lacking in fluidity. But no matter, such is Cervantes’ imagination he could stage Quixote’s adventures anywhere. Props and costume changes here help greatly, as does Marcus Abbott’s lighting design.
As Cervantes/Quixote, Pittsinger has a rich baritone that is a pleasure to hear in songs like “Man of La Mancha,” “Dulcinea,” and, of course, the great crowd-pleaser “The Impossible Dream.” He’s quite adept at suggesting the failing strength of the Knight of the Woeful Countenance, while also playing the thoughtful showman Cervantes who wants all his listeners to be touched by Quixote’s dream. As his manservant who doubles as Quixote’s faithful Sancho Panza, Brian Michael Hoffman has the requisite easygoing manner, with his rendition of “A Little Gossip” at his master’s sickbed his high point. Other fine support is provided by David Edwards as a skeptical prisoner and as scheming Dr. Carrasco, and by Matthew Krob’s fine singing voice in the Padre’s touching “To Each his Dulcinea.”
A match for Pittsinger’s pure, noble and dreamy Quixote is Talia Thiesfield’s sharp, direct, and earthy Aldonza, with lithe movements and a voice that thrills. Dulcinea’s status as fantasy figure for Quixote and Cervantes both makes her seem a kind of ideal damsel brought out by the musical itself, so that Aldonza seems to accept her status as Dulcinea both in the Quixote story and in the dungeon as well. The abduction/rape scene, which is an act of brutality that’s meant to give the lie to Quixote’s unworkable dream, is handled here more as suggestion than outright violence, but, even so, Quixote’s reprise of “The Impossible Dream” immediately after still feels a willful blindness to harsh reality.
The show ends ambiguously both for Quixote and Cervantes, and yet with the sense that Cervantes has redeemed himself by letting Quixote’s madness—almost “cured” by Dr. Carrasco as the Knight of the Mirrors—still reign on, as it must so long as audiences thrill to the notion of a hopeless quest for an unreachable star.
Bravo to Ivoryton for reviving this timeless tale of art’s triumph over sordid reality.
Man of La Mancha
By Dale Wasserman
Music by Mitch Leigh, Lyrics by Joe Darion
Directed by David Edwards
Musical Director: Paul Feyer
Choreography by Todd Underwood
Scenic Designer: Daniel Nischan; Costume/Hair/Wig Designer: Elizabeth Cipollina; Lighting Designer: Marcus Abbott; Production Stage Manager: James Joseph Clark; Sound Designer: Tate R. Burmeiser
Cast: Brian Binion, Amy Buckley, Ryan Cavanaugh, David Edwards, Brian Michael Hoffman, AJ Hunsucker, Matthew Krob, James Ludlum, Conor McGiffin, Melissa McLean, Stephen Mir, David Pittsinger, Talia Thiesfield, James Van Treuren
September 7-October 2, 2016