In the end, the audience stood and applauded. They were wonderfully impressed by Phoenix Theatre's production of Dale Wasserman's Man of La Mancha, and showed their appreciation enthusiastically.
Curiously sprinkled throughout the house, however, were several groups of people sitting with perplexed looks on their faces, wondering if the show they had just witnessed bore any relationship whatsoever to the powerful, intoxicating tale that has mesmerized audiences for decades.
Every production stands and must be judged on its own merit -- the vision of its director, the capabilities of its cast -- yet, this being said, rarely if ever has a production of La Mancha seemed so well, so "perky"
Incorporating all the angst and inner turmoil one usually associates with Dames at Sea or The Boyfriend, director/choreographer Michael Barnard has fashioned the performance in such a way that the audience is never drawn into the action -- always kept at arm's length -- and the result is that the audience leaves the theatre unchanged, unmoved.
As Cervantes/Don Quixote, Rusty Ferracane is the ultimate showman, yet he comes across as far too youthful, almost sprightly in his performance. His voice, albeit well trained, carries with it none of the power needed to propel his character into the realm of the majestic storyteller who is capable of transforming the minds and hearts of a cynical world. Within the style chosen for this production, though, he hits the mark.
As Aldonza, though, Michelle Gardner comes through. She fully understands and expresses the depth of her character. Desperation, hope, joy and pain flow freely, and she easily becomes the highlight of the evening. Vocally, she did have some problems, but that did not substantially detract from an otherwise complete performance.
Without compelling chemistry between the two leads, it is easy to turn one's attention to the rest of the company, and they do not disappoint. A fine performance is turned in by John Gentry as Sancho Panza, who gives the character a refreshingly fresh twist, and Tony Castellanos plays the role of the Padre honestly and sincerely, using his fine voice to compelling effect. In fact, the entire ensemble is a joy to watch, and their ability to execute intricate blocking and dance moves is a wonder to behold.
Without doubt, however, the performance to watch is that of Terey Summers. Although able to blend in with the rest of the cast when appropriate, Summers literally lights up the stage when she is called upon to shine. Why she is not on Broadway, we'll never know.
Other aspects of the show, from the crisp orchestra led by Ron Colvard to the first-rate set designed by Jim Hunter, provide an excellent package for the production, and Connie Furr's costumes deserve special credit for being not only striking, but extremely flexible a much-needed quality in a show where movement is fast and exceedingly complex. Paul Black's lighting was spot on as well, although on opening night several actors missed their marks and, as a result, were under/over-lit during vital scenes.
Responsibility for the "upbeat" treatment ultimately resides with the director. Barnard's choice to present La Mancha without the majority of its traditional angst will disappoint theatregoers who come anticipating catharsis and renewal, yet will satisfy those who seek a fast-paced, "freshly scrubbed" evening of theatre. In the end, however, neither will be truly moved, except to the exits.
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