Man of La Mancha

The Sacramento Theatre Company has opened a sumptuous new production of “Man of La Mancha,” directed by Michael Jenkinson.

The Broadway hit, by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion is a musical drama — a play within a play within a play — which tells the story of Miguel de Cervantes, thrown into prison while awaiting examination by the Holy Inquisition for having the effrontery to foreclose on a church that had not paid its taxes. Cervantes’ original text was written in 1605.
Greeting the new arrivals, Cervantes’ fellow prisoners hold their own inquisition, a mock trial, accusing the writer of being, among other things, an idealist and a bad poet. If “convicted,” he will lose his belongings, which consist primarily of a trunk of theatrical costumes and props, and an unfinished manuscript. In his defense, the author proposes he act out the story of the manuscript, using other prisoners to fill in the roles.

It is the story of Alonso Quijano, an idealistic old man who imagines himself to be living in medieval times as a knight errant, Don Quixote de La Mancha, who travels the countryside fighting beasts and rescuing damsels in distress.

“He ponders the problem of how to make better a world where evil brings profit and virtue none at all, where fraud and deceit are mingled with truth and sincerity,” he says. He promises not to allow wickedness to flourish. The delusional Quijano is an embarrassment to his respectable family.
Director Jenkinson explains that “The themes this beautiful piece explores — truth, justice, love, accountability, and hope, to name a few — are timeless in their importance, and serve as profound lessons in the human experience.”

Chris Vettel is a commanding Cervantes, a strong actor with a rich baritone, never shown better than in the classic “Impossible Dream.” Vettel has the ability to transform himself into the idealistic Don Quixote with a mere change in the look in his eyes, and to return to the person of Cervantes just as easily. It’s an amazing feat!

Quixote’s faithful squire, Sancho Panza, is played by Jake Mahler, whose earnestness and love for his master is beautiful.

Nicole Sterling was a wonderful choice of the server Aldonza, whom Quixote elevates to the role of a wonderful “lady” and calls Dulcinea. Aldonza, the sexual plaything of all the men in the hotel, which Quixote calls a castle, has the lowest opinion of herself possible and can’t understand what “good” Quixote sees in her. (“What does he want of me?”) Though, ultimately it is Dulcinea who brings the greatest comfort to the dying old man.

Matt K. Miller gives a somewhat different interpretation of the Innkeeper (also the “governor” of the prison). A wonderful comedian, Miller gives more comedic overtones to the Innkeeper than I remember seeing before and it is a nice respite from the heaviness of the script.

In the role of “The Duke” in the prison and the old man’s physician, “Dr. Carrasco” back in reality, Michael RJ Campbell gives his usual towering performance.

Samuel Clein directs an on-stage orchestra of five, which is so much better than the recorded music STC sometimes uses.

Eric Broadwater has designed an uncomfortable prison, so dark and dank that you can almost feel the cold the prisoners must endure.

Director Jenkinson says that the musical may have more relevance today than it had when originally written, with Don Quixote journeying through his fantasy world, believing that true madness is to see life as it is and not as it should be. The line in the show which gets a big, if uneasy laugh, is, “Facts are the enemy of truth.”

Man of La Mancha

The Music Circus production of 'Man of La Mancha,' which continues through Sunday, is proof that you can tell a musical story without glitz or glamor: with nothing more than a solid script, a fantastic cast and a terrific orchestra.

This play-within-a-play - based on the 17th century Spanish novel by Miguel de Cervantes, with book by Dale Wasserman, music by Mitch Leigh and lyrics by Joe Darion - begins as Cervantes, imprisoned for crimes against the Catholic Church (he attempted to foreclose on a monastery, for nonpayment of taxes), awaits interrogation by the Spanish Inquisition.

The dual roles of Cervantes and Don Quixote are played brilliantly by Walter Charles, a veteran of Broadway, Off-Broadway and regional theater. Charles is that rare actor who knows that sometimes less is more; his toned-down handling of the 'story telling' parts of the narrative are balanced nicely by his 'acting' in the role of Don Quixote.

We listen more carefully to someone who quietly tells a story, than to someone who emotes all the time.

Kevin Ligon is a delight as the manservant, Sancho Panza. Ligon has a marvelously acerbic method of delivery, and is especially winsome in his song, 'A Little Gossip.'

Cervantes' fellow prisoners hold their own inquisition - a mock trial - during which they accuse the writer of being, among other things, an idealist and a bad poet. If 'convicted,' Cervantes will lose his belongings, which consist primarily of a trunk of theatrical costumes and props, and an unfinished manuscript.

By way of a defense, the author proposes to act out the story of the manuscript, using other prisoners to fill in the roles.

This, then, is the saga of Alonso Quijana, an idealistic old man who imagines himself to be an errant knight, Don Quixote de La Mancha, who travels around the countryside fighting beasts and rescuing damsels in distress:

'He ponders the problem of how to make better a world where evil brings profit and virtue none at all; where fraud and deceit are mingled with truth and sincerity.'

The delusional Quijana, who promises not to allow wickedness to flourish, is an embarrassment to his respectable family.

Quixote sees things as he wants to see them, not as they really are. A windmill thus becomes a giant beast to be attacked; a country inn becomes a castle; the serving wench and town whore, Aldonza, becomes the lovely 'Dulcinea,' a fair lady whom Quixote insists on treating with dignity, gentleness and respect, as he becomes her protector.

Valerie Perri doesn't have the vocal richness that one would like in a Dulcinea, but she can belt a tune with the best of them. Her raw portrayal of 'Aldonza, the whore' is very affecting. In deference to the PG audience at any Music Circus production, Aldonza's rape scene is toned down to a suggestive dance, choreographed by Bob Richard, rather than a more graphic attack.

P.I. Brown also turns in a powerful performance, as the 'governor' among the prisoners, and the Innkeeper in Cervantes' play. The latter grants Quixote his knighthood, and gives him the title of 'Knight of the Woeful Countenance.' Brown is an overwhelming presence with a deep bass voice.

The play offers wonderful technical moments throughout. Quixote and Sancho set out on their quest in 'chariots,' which are pieces of furniture found in the jail, pulled by a 'horse' and 'donkey' (Alex Robert Holmes and John B. Williford). The scene brings cheers from the audience, as director Guy Stroman has found the perfect way to move his four-legged creatures around the stage.

A later scene, 'We're Only Thinking of Him,' features Quijana's family and advisers: It's an outstanding lighting effect, with each standing in a pool of light as these characters rotate around the stage. Kudos to designer Pamila Z. Gray.

At one point, a group of Moorish gypsies sets upon Quixote and steals all his belongings, including his animals. Manoly Farrell plays a seductive dancer, distracting the hapless knight while her companions rob him blind.

Quixote maintains his idealism even in the face of these many adversities, until he is forced to look in the mirror and see life as it actually is.

The message of this musical is contained within its signature song, 'The Impossible Dream': One must neither give up one's dreams, nor the hopes that nobility always triumphs, and virtue always prevails.

Man of La Mancha

The Davis Musical Theatre Company has mounted another enjoyable production of 'Man of La Mancha,' continuing through Dec. 7 under the capable direction of Jan Isaacson, with musical direction by Jonathan Rothman,

Dale Wasserman's Broadway hit - with music by Mitch Leigh and lyrics by Joe Darion - is a musical drama: a play within a play within a play, which tells the story of Miguel de Cervantes (Tae Kim), who has been thrown into prison to await examination by the Holy Inquisition, for having the effrontery to foreclose on a church that did not pay its taxes.

As is their custom with new arrivals, Cervantes' fellow prisoners hold their own Inquisition - a mock trial - and accuse the writer of being, among other things, an idealist and a bad poet. If 'convicted,' he'll lose his belongings, which consist primarily of an unfinished manuscript and a trunk of theatrical costumes and props.

Cervantes mounts his defense in the form of a play, in which he takes the role of Alonso Quijana, an old gentleman who has become delusional and now believes himself to be a medieval knight errant.


Quijana renames himself Don Quixote de La Mancha, and travels the countryside with his trusty squire, Sancho Panza (Jason Hammond), fighting beasts and rescuing damsels in distress: 'He ponders the problem of how to make better a world where evil brings profit and virtue none at all; where fraud and deceit are mingled with truth and sincerity.'

He promises not to allow wickedness to flourish.

At first sight, the diminutive Tae Kim seems an unlikely Cervantes; the character is more traditionally a taller, older and more commanding presence. But all doubts are erased once Kim begins to sing, and he steps comfortably into the playwright's shoes.

Kim did have a few difficulties opening night, trying to stay with the orchestra in a couple of places, but otherwise he was excellent.

Hammond is outstanding as Sancho Panza, a large but gentle man who is extremely protective of his master.

The two ride out from Quixote's home on trusty horses. The latter are prisoners in horse costume, and it's unfortunate that the actor playing Quixote's horse is so tall that he prevented the actor from being seen for most of this number.

En route, Quixote does battle with a 'monster' - actually a windmill - and decides to take refuge in a neighboring 'castle,' actuality a local tavern that only appears to be a castle in the faux knight's delusional mind.

The pair encounter Aldonza (Lauren Miller), the weary and bitter barmaid and town trollop, who appears to Quixote to be the lovely and virginal Dulcinea, the maid he pledges to serve, protect and defend with his life. Aldonza is confused by the gentle, courtly manner in which he treats her.

Lauren Miller has made quite an impact while playing roles such as Annie Oakley in 'Annie Get Your Gun,' the secretary Gladys in 'Pajama Game' and Audrey from 'Little Shop of Horrors.' All are brash, bold, colorful women, and Miller delivered them well.

Aldonza is a different type of a role, and Miller definitely has the singing voice for it - despite some harsh notes in her upper register - but her speaking voice occasionally echoes the brassy manner of all those other characters, which could be a bit grating on the ear. Despite that, Miller's Aldonza displays the proper balance of harshness and tenderness toward Quixote.

Steve Isaacson returns in the dual roles of the 'Governor' of the prisoners and the Innkeeper who is talked into knighting Quixote, and giving him the title of 'Knight of the Woeful Countenance.' As always, Isaacson's performance does not disappoint.

Mark Ettensohn is the 'Duke,' who takes an instant dislike to Cervantes; Ettensohn also plays Dr. Carrasco in the charade performance. He too, does a memorable job.

The delusional Quijana is an embarrassment to his respectable family, and the tuneful 'I'm only thinking of him' is sung by Quijana's niece Antonia (Jennifer Berry), his housekeeper (Emily Beal) and their priest (Michael Manley, who has the widest vibrato I've heard from a man in a very long time).

Isaacson's massive set is impressive, with a huge staircase that lowers whenever anyone enters the prison.

The six-piece orchestra is fine overall, although the horn section displays occasional weaknesses, particularly during the overture.

Overall, though, this is a very good production of 'Man of La Mancha,' and it's certain to satisfy audiences.

Man of La Mancha

After seeing director Art Grueneberger’s delightful "Man of La Mancha," performed with life-size puppets, the only question one must ask is: why didn’t anybody think of this before?

"Man of La Mancha," written by Dale Wasserman with music by Mitch Leigh and lyrics by Joe Darion, which opened Friday night at the University Main Theater, tells the story of author Miguel Cervantes (Mario Castro Martinez), imprisoned for crimes against the Catholic Church (he attempted to foreclose on a monestary for non-payment of taxes), who is awaiting interrogation by The Spanish Inquisition.

Darrell F. Winn’s set is magnificent, dark and mysterious, with a long staircase which can be lowered from an upper level to the dungeon. The orchestra, under the direction of Pete Nowlen, is set off to the side behind bars and almost invisible. The only jarring element on the otherwise perfect stage is the guitar of Taehun Lee. Lee opens the show by walking out, sitting on a box and beginning to play a tune. It is a shame that into this perfectly created dark and murky world, a shiny, light colored, modern electric guitar, with a spotlight on it, should stand out like a sore thumb.

Cervantes comes into the prison with his manservant (Richard Hess). The pair are set upon by the other prisoners, who insist that the newcomer must be judged by his fellow prisoners at a mock trial for the crime of being "an idealist, a bad poet, and an honest man."

Cervantes demands that he be allowed to defend himself and does so by presenting "an entertainment." Traditionally, Cervantes now begins to apply make-up from his trunk while his manservant passes out costumes to the prisoners as they prepare to tell the tale of Alonso Quijana, an old man who fancies himself a dauntless knight, Don Quixote de la Mancha, determined to travel around the world and make it a better place.

In the current production, Cervantes is a puppeteer rather than simply an actor. Instead of costumes, the prisoners are given puppet figures to use in the presentation of the entertainment. The major character puppets are worked by two actors, Quixote and his squire, Sancho Panza, by three.

(Puppets were designed and built by Kristen Phillips)

Using puppets brings the musical into a different dimension. It allows for unusual casting, for example. Castro Martinez admits that he is entirely wrong for the role of Don Quixote. He is too young and too short, for starters. Yet with fellow puppeteers (Kate Cryan, torso, and Cary Babka, legs), you lose sight of the physical appearance of the actor and concentrate, instead, on that marvelous voice coming out of the body of the perfectly fashioned puppet. Castro Martinez thus becomes the perfect Quixote.

Babka deserves special praise because his operation of Quixote’s legs is so seamless that at intermission, my husband asked why there were 3 people listed in the program for that character, when he only noticed two.

Quixote’s squire, Sancho Panza, being short and round, becomes more of a cartoonesque character, with Kelly Fleischmann operating the torso and Matthew Escarcega the legs. Unlike Quixote’s long, lanky, articulated legs, Sancho’s are short and stubby and his little run step adds greatly to the appeal of the character. Hess is also a delightful comedic actor and his voice for Sancho is perfect for the puppet he controls.

Laura Snell is Aldonza, the prison whore, in whom Quixote sees only goodness and purity as his "Dulcinea." (Allison Minick controls the torso). This is a demanding role, vocally, and Snell had some difficulty in spots, but there was no denying her ability to instill the character with all the emotion necessary.

Matthew Moore was suitably threatening as the "Governor," whose job it was to preside at the prisoners’ trial of Cervantes and his manservant. Moore later played the Innkeeper in the fantasy (torso by Spencer Tregilgas) as a sympathetic man who understands Quijana’s need to have him believe his Quixote persona.

Daniel Reano-Koven was a menacing Duke, and later Dr. Carrasco (torso by Lee Riggs), the cynical, self-centered fiancee of Quijana’s niece (Franchesca Jimenez with torso by Kelsey Yoro)

Lowell Abellon added comedic elements as the Barber in the fantasy (with Jocelyn Tripet-Diel as the torso).

Other major characters included Bryan Pham and Lowell Abellon as Padre, Kaitlin Shaw and Kristina Stasi as the housekeeper, and Melanie Levy and Kaitlin Shaw as Maria/Fermina.

This production may seem to be about special effects (the night of the mirrors, when Quixote is forced to face reality, is quite impressive), but despite the use of puppets – or perhaps because of the use of puppets – this is a memorable production which touches the heart.

Man of La Mancha

The Broadway hit, “Man of La Mancha,” by Dale Wasserman, Mitch Leigh and Joe Darion, currently at the Woodland Opera House, delivers a simple message which should resonate with anyone today who is overwhelmed by all the negative that surrounds us--war, famine, pestilence, floods, fires, the incompetence of world leaders... “Man of La Mancha” reminds us that with so much darkness in the world, humanity continues to hope.

Director Bob Cooper’s excellent production rises above the level of most community theater productions, with an outstanding cast, without a weak link in the bunch.

Rodger McDonald combines all of the qualities that the principal role demands. He is uneasy as Miguel de Cervantes, the prisoner, awaiting trial by the judges of the Inquisition for daring to assess a tax against a Catholic church, and commanding as Miguel de Cervantes, writer and actor, who agrees to present an entertainment for his fellow prisoners as his “defense” for the trail that will determine whether he gets to keep his belongings or not. He is the befuddled Alonso Quijana, an old man losing a grip on reality who has become an embarrassment to his family, and he is dashing and noble as Don Quixote de La Mancha, the imaginary character Quijana becomes, who tilts at windmills, thinking they are dragons, and who fights for the virtue of his Lady.

One expects a stirring performance of the show’s signature song, “The Impossible Dream,”and is not disappointed, but is just as moved by the sweet “Dulcinea,” sung to Aldonza, a serving wench and town whore whom Quixote insists on treating with dignity, gentleness and respect.

As Quixote’s friend and manservant, Sancho Panza, Paul Fearn is funny without being a caricature. He is slavishly devoted to his friend and would lay down his life for--or with--him, if need be.

Michelle Drever brings a sultry seductiveness and a world-weary attitude to Aldonza, who is puzzled by, irritated by, and intrigued by this stranger’s vision of her. She finds depths in herself that she did not know were there...and is uncomfortable by her discoveries. Drever has a powerful voice which can also achieve a soft gentleness that would melt the hardest of hearts.

Veteran actor and film critic for the “News and Review,” Jim Lane, adds another feather to his cap with a strong performance as the prison “Governor,” who becomes the Innkeeper in Cervantes’ play.

Andrea St. Claire does well with the smaller role of Antonia, Alonso’s niece, who is concerned about his fading competency and, more importantly, what will happen to his estate. St. Claire has a beautiful, strong voice and is able to change her persona when she moves from prisoner attire into the gown of the noblewoman, Antonia. She is another asset to this strong cast.

The “bad guy” is Matthew Abergel in the triple roles of the Duke, Dr. Carrasco, and the Knight of Mirrors. He is cruel and sardonic and handles the role well.

This show actually has a pit orchestra, under the direction of Dan Pool, which adds great depth to the sound and with stage mics (so much less distracting than body mics) there was no problem at all being heard over the instruments. With a fine orchestra in the pit, however, it was a bit puzzling as to why the director felt the need to use recorded music for mood at times.

Jeff Kean created a beautifully massive, impressive set which very realistically depicted a dungeon holding cell. However, the illusion was broken twice, once by flying in a windmill for the scene where Don Quixote has mistaken the windmill for a monster of some sort, and once when a confessional was flown in at the start of Act 2. Since all of the action takes place in the dungeon, the use of these realistic set pieces momentarily shatters the illusion that has been created thus far. It would have been much better to go with the descriptive passages, have Quixote’s battle take place off stage, and fashion a confessional out of something within the cell itself, as they did Alonso’s bed at the end of the show.

Kean’s lighting design, however, worked well, using cool tones for the real-time prison setting and warmer tones for the fantasy of the play-within-a-play.

Costume design by Laurie Everly-Klassen was, as always, excellent. The pull over gown for Antonia was particularly lovely.

This “Man of La Mancha” is an outstanding production which gives hope for good things happening in the world, despite often overwhelming odds.

Man of La Mancha

...and when she was good
she was very, very good...

Director Jan Isaacson’s production of the Davis Musical Theatre Company’s Man of La Mancha, which opened Friday at the Varsity Theater, is very good.

The Broadway hit, by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion is a musical drama, a play within a play within a play, which tells the story of Miguel de Cervantes, thrown into prison while awaiting examination by the Holy Inquisition for having the effrontery to foreclose on a church which had not paid his taxes.

Cervantes' fellow prisoners hold their own Inquisition, a mock trial, accusing the writer of being, among other things, an idealist and a bad poet. If "convicted," he will lose his belongings, which consist primarily of a trunk of theatrical costumes and props, and an unfinished manuscript. In his defense, the author proposes he act out the story of the manuscript, using other prisoners to fill in the roles.

It is the story of Alonso Quijana, an idealistic old man who imagines himself to be living in Medevial times as an errant knight, Don Quixote de La Mancha, who travels the countryside fighting beasts and rescuing damsels in distress. "He ponders the problem of how to make better a world where evil brings profit and virtue none at all; where fraud and deceit are mingled with truth and sincerity." He promises not to allow wickedness to flourish. The delusional Quijana is an embarrassment to his respectable family.

Without a commanding Cervantes, you have no Man of La Mancha, and in newcomer Byron Westlund (who played this role at Cabrillo Stage in Aptos), Jan Isaacson has hit a goldmine. He is tall, rugged and stately. He has a rich baritone and is an excellent actor. What more could one want?

As Sancho Panza, Cervantes’ manservant, Ryan Adame gives the character a boyish enthusiasm that is endearing.

Quixote sees things as he wants to see them, not as they really are. Thus a windmill becomes a giant beast to be attacked, a country inn becomes a castle, and Aldonza, the serving wench and town whore, becomes the lovely "Dulcinea," a fair lady whom Quixote insists on treating with dignity, gentleness and respect and becomes her protector.

Lauren Miller is a world-weary, jaded Aldonza, confused by the eyes through which Quixote sees her. Miller had a bit of trouble with her high notes, but otherwise gave a strong performance. Her rape scene was disturbingly effective.

Other noteworthy performances were Steve Isaacson as the “Governor” of the dungeon, who doubles as the innkeeper who agrees to make a knight of Quixote and gives him the name “Knight of the Woeful Countenance.”

John Hancock gave a high-powered performance in the dual roles of the Duke and Dr. Carrasco who, with J.D. Diefenbacher as The Padre, Dannette Vassar as the Housekeeper, and Emily Beal as Antonia sings the delightful “I’m only thinking of him.”

Ben Wormeli is the on-stage guitarist.

The ensemble is strong, and particularly lovely in the harmonies for the gentle “Little Bird, Little Bird.”

Set design by Steve Isaacson exhibited better production values than the usually-struggling company is sometimes able to afford, and the lighting (also designed by Isaacson and run flawlessly by first-time technician Julie Kuhlman) dramatically set the scene of an underground dungeon, with a window at ground level through which fog can be seen. The lighting is particularly dramatic when steps are lowered to permit new prisoners to enter the dungeon.

Long time company costumer Jean Henderson turned out her usual collection of good-looking costumes, appropriate to the period.

The fifteen-piece backstage orchestra produced a full sound that made a nice accompaniment to the on-stage action.

Man of La Mancha continues at the Varsity Theater through May 29.