Man of La Mancha came into being because of a mistaken newspaper column. Television and film writer Dale Wasserman was in Madrid doing research for a current movie project when he read an erroneous report that he was planning to write a play about Don Quixote, the hero of Miguel Cervantes' 16th-century classic novel. The mistake put a bug in Mr. Wasserman's ear, and after a great deal of research, he went on to write the classic 1965 musical, which is viewed as the final bow of the Golden Age of Broadway Musicals. It has a perfectly balanced play-within-a-play motif (a well-integrated double look at both artist and creation), great source material, wonderful music, memorable lyrics, and a tear-inducing finale. This musical is sadly no longer a commonly produced show, but only because of the difficult technical requirements, not through any fault of the play itself.
To celebrate the 35th anniversary of this classic, Phoenix Theatre has called on valley resident Wasserman to add his revisions to Director/Choreographer Michael Barnard's changes. Mr. Barnard has brought together a glorious ensemble, casting some leads in roles that are not natural fits, and offers audiences a very impressive, slightly changed production. Most of the strong changes made to the show are generally not intrusive to those with only a casual memory of the piece, and for the most part, work to bring it to an even higher level. There are some, though, that are jarring and questionable. But, better several good choices and a few misses, than no good choices at all.
With Mr. Barnard at the helm, there was no way to avoid the piece becoming more choreographed than the original productions. With this as his strength, the few dance numbers have been expanded to a production that smoothly integrates directorial movement with extensive choreography, helping to establish the initial bedlam and the slow unification of the collected prisoners. Most other changes to the production, which include a gender-bending Inn Keeper, a late change of heart for the icy niece, Antonia, and a paunchy, rather than obese, Sancho Panza, work well. It also should be noted that Mr. Barnard has done his homework; the presentational style of the play-within-a-play is in keeping with the style of sixteenth century Spanish theatre. There are three obvious instances, though, where choices hinder, rather than help the production. Mr. Barnard has gone against the usual lecherous prisoner to play the Padre, instead going with a soft-spoken prisoner, played by Tony Castellanos, who comes across as effeminate and implies jailing by the Inquisition for homosexuality. The choice could work, if it was more strongly played, rather than tentatively implied. A change that does not work involves a post-intermission shove by Miguel Cervantes of his adversary, The Duke. This obviously goes against everything for which Cervantes stands. Finally, Mr. Barnard chooses to have the imposing gate that only opens for the prison-keepers raise for the arrival of the Knight of Mirrors, a jarring move that takes the audience out of the moment. These three, among a few others, are examples of choices that don't work. The production is too full of great moments and performances, though, to worry about its few lesser ones.
First, there's Rusty Ferracane. He does not seem to be a natural choice for the roles of Don Miguel de Cervantes and Don Quixote de la Mancha. Mr. Ferracane dispels any doubts within the first few minutes, though, and proceeds to get better and better until such worries seem to have been foolish. He is a gifted actor whose on-stage transformation between Cervantes and Quixote is a joy to watch. His singing is impressive, and he offers "The Impossible Dream" with panache. Second, there's John Gentry, the thin comedian called upon to play corpulent sidekick Sancho. Mr. Gentry's great comic timing makes one forget girth, and enjoy such things as his hilarious rendition of "I Like Him." Finally, there's Michelle Gardner, yet another seemingly odd casting choice who rises to the occasion wonderfully. Ms. Gardner doesn't seem to be a natural match for the furious Aldonza who transforms to the hopeful Dulcinea. She is not quite gruff enough in her presentation, but her fury, mixed with her beautiful voice, give her the chance to shine, and she completely wins over any nay-sayers with her rendition of "Aldonza." Mr. Barnard has challenged these three performers, and each one rose to the occasion.
The supporting cast is nearly to the level of the three leads, with only a very few exceptions. Wes Martin is a stately Governor. Teresa Springer does well as the Inn Keeper, though, not through any fault of her own, her alto rendition of "Knight of the Woeful Countenance" strips away the only deep-voiced role in the show. Jeanine Pacheco is wonderful as Antonia, joining Ms. Gardner for a new, and beautiful duet in the "Dulcinea" reprise. Phyllis Fort is perfectly staid as the Housekeeper. Beau Heckman's funny in the role of the Barber, though his choice of a lisp is annoying. The few weak performances come from James Zannelli as the pivotal Duke/Dr. Carrasco/Knight of Mirrors, who just doesn't quite carry his self-importance as though he were afraid of breaking it, as well as the abovementioned performance of the Padre by Mr. Castellanos. Terey Summers tries to add laughs to the small role of the Inn Keeper's wife, but internalizes her choices too much.
The Ensemble is wonderful. They play their roles of prisoners, muleteers, servants, and moors with constant abandon. This is the strongest I've seen an ensemble work together in awhile, and every man onstage is perfectly macho and threatening.
Musical Director Ron Colvard does a great job with his 10-piece orchestra. Jim Hunter overcomes the one overwhelming technical requirement of the show (a lowering drawbridge made impossible by limited flyspace) with the creative, though incorrectly-used prison gate. The rest of his set is wonderful, and provides many places and levels for the staging. Paul Black's lighting runs from eerie to bright, though there are some times when shadows overwhelm the action. Connie Furr's costumes are perfectly period, and David Temby's sound design nearly flawless.
Kudos go to Mr. Barnard and his cast and crew. This is an evening of theatre that reminds us both of the power of the classics, and the living element of theatre that allows new choices for old pieces. Do what you can to see this all-star cast and crew stretch and grow.
Production Details:
Man of La Mancha Book by Dale
Wasserman, Music by Mitch Leigh, and Lyrics by Joe
Darion
Phoenix Theatre, Phoenix
(602) 254-2151
September 15th - October 15th, 2000