BWW Reviews: MAN OF LA MANCHA at Artes De La Rosa

The lively Dallas/Fort Worth theatre scene thrives due to the many local artists working for little more than applause. While not every production can be a home run, it's always nice to see a company attempt to create something new and unique. With MAN OF LA MANCHA at Artes de la Rosa, kudos are due for their experimental, daring approach to this oft-performed piece.

When this story begins, Miguel de Cervantes (Martin Antonio Guerra)-describing himself as a tax collector, soldier, and author-is thrown into "prison," along with his assistant, Sancho (David Goza). Pleading his case to his fellow prisoners, Cervantes begins to reenact the story of Don Quixote of La Mancha, the passionate and poignant tale of a noble knight who lives in his own world of madness where chivalry and honor are not dead. As part of his knight's journey, Don Quixote falls in love with a fair maiden Aldonza/Dulcinea (Sarah Powell) and persuades her to see herself through his eyes - no longer the amorous kitchen wench, but a respectable woman worthy of love. Eventually moved by his story, the rest of Cervantes' peers soften their hearts towards him...but is it too late?

Artes de la Rosa's production is an intentional modernization and spin. According to the program, the show's director/producer/costume designer, Adam Adolfo (who also serves as the theatre's Artistic Director), lists the revised setting as "now and then" in "the dark recesses of an oppressed mind." With frequent references to current politics, war and mental illness, Adolfo likens his reimagined version of MAN OF LA MANCHA to the famously reinterpreted 1998 Broadway revival of CABARET, and raises the stakes on the story's fear and dramatics. From the start, this version of the show is clearly not the show you are used to and is equal parts creepy and cool, if not a bit confusing. As innovative as this new vision was, I often found myself puzzled and distracted by some of the changes (for example, when the lead actor was awkwardly upstaged by a pair of dancers in the show's most famous tune, "The Impossible Dream"). The director's concept was not always clear or connected and there were moments where I simply felt lost. And, unlike CABARET, MAN OF LA MANCHA provides no flashy, show-stopping, toe-tapping opportunities, despite this production's use of modern costumes and contemporary choreography.

In spite of the show's artistic challenges, each of the sixteen performers must be applauded for their level of commitment to their craft. It was obvious that this group was giving it their all and were fully lost in the world Adolfo created. Though neurotic laughter and tears, they portrayed one of the most diverse group of characters I've seen on any stage to-date. Of the large ensemble, Jason Solis, was a stand out, as both characters Anselmo and Barber.

If you are unfamiliar with MAN OF LA MANCHA, perhaps this production should not be your first exposure to the material. On the other hand, if you're invested in supporting independent local theatre, or you'd like to see a fresh approach to a fifty-year old musical, the team of Artes de la Rosa would be happy to have you join them.

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