"Man of La Mancha" rides again

“Man of La Mancha” began life as Miguel de Cervante’s great 17th century novel, Don Quixote, became in 1959 “I, Don Quixote” a non-musical teleplay by Dale Wasserman during the golden age of television (Lee J. Cobb and Colleen Dewhurst starred), when 20 million viewers tuned in, then was taken up by famed Broadway director Albert Marre, who urged Wasserman to transform it into a musical with Mitch Leigh composing and Joe Darion penning the lyrics.

The show opened in 1965 off Broadway in the ANTA Washington Square Theatre, then the last word in innovation with its thrust stage, no curtains and reputation for debuting new plays that became classics. Scored for brass, percussion and winds, flamenco guitars replaced the usual string section. The show was praised beyond praise.

“Man of La Mancha” swept the 1966 Tony Awards and speedily moved uptown to Broadway, where its stars Richard Kiley and Joan Diener continued their upward trajectory to London’s West End, touring companies, many international productions, and more awards. The show has been translated into 20 languages and performed in Spain alone in nine dialects. The novel itself is the most translated book in the world after the Bible.

A rarity among musicals, which normally tell their stories through song, “La Mancha” is half straight play and half songs—every one of them now a classic, with “The Impossible Dream” a standard sung by opera, concert hall, popular and nightclub singers. Because of its classical roots, emphasis on dialogue and soaring score, the show has been included in opera and Shakespeare seasons.

So, how does the SDMT version fare? The company’s thrust stage, no curtain, tight wings and tall flies certainly recall ANTA Washington Square. An imported single set (undoubtedly costly), sets the mood and allows for Scott Thompson’s adept staging and choreography. The utter conviction of the two leads (Robert Townsend as Cervantes/Don and Heidi Meyer as Aldonza/Dulcinea), abetted by a tough cast, and Don Le Master’s sharp little orchestra make for one of the leading shows of the current season. Do yourself a favor and buy a ticket.

Like those 20 million TV viewers 60 years ago, SDMT’s Sunday matinee audience was packed, absorbed, respectful and engaged. At the end they stood up and shouted their approval.

Townsend and Meyer, both in fine voice, play their conflicted roles to the hilt in this story with an unhappy, ambiguous ending. The story-within-a-story gets stuck in a few spots (“I’m Only Thinking of Him” needs pointing and clarifying to avoid sounding like a non sequitur). Similarly, the Don’s third incarnation as Alonso Quijano needs restaging for clarification. Sancho ( Jeffrey Landman, cute) is a little too contemporary and needs a wig and a hat.

But the second act rape scene, the Knight of the Mirrors scene, the drawbridge portentously lowered into the subterranean prison are all well done. Special praise goes to Bill Bland (Innkeeper/Governor), whose opera training and career make him a company anchorman. Joseph Grienenberger is a stand-out as the Padre (his closing “Psalm” is exquisite), while the rapacious Muleteers (led by the suitably brutish Evan White as Pedro) and prison staff women work their hearts out.

This competent cast is carried by the power of the book and score. Sixty years on, “The Impossible Dream” is a veritable national anthem for an America in turmoil (the story is inadvertently laced with contemporary resonances). Overall, this is one of SDMT’s bravest efforts and a great credit to the producers, Erin and Gary Lewis. If you love live theatre, don’t miss this classic.