Review: MAN OF LA MANCHA at the Peterborough Players

The Peterborough Players ends a record breaking season with a production of “Man of La Mancha,” starring Scott Bakula (From television in, “Quantum Leap,” “Star Trek Enterprise,” and “NCIS:New Orleans”) and his wife, Chelsea Field (best known Rita Devereaux  in “NCIS:New Orleans”), in the lead roles of Cervantes and Aldonza.

The Peterborough theater is no stranger to star power as it once hosted an early production of “Our Town” with the author, Thornton Wilder, in the audience and one-man shows like Will Rogers with James Whitmore, and Paul Robeson with Avery Brooks.

The theater has been in Peterborough since 1933 and is 250-seat venue created in the storied “barn turned into theater” renovation projects that dot the New England countryside. Guests are introduced to a lovely theater on a tranquil campus that’s well off the beaten path. Seating is spacious and comfortable  (There are some obstructed view seats available if you don’t mind looking around the structures that hold up the barn.)

"Man Of La Mancha," a well-known musical launched in 1965, is based on Miguel de Cervantes epic 17th-century novel, Don Quixote. It is a poignant and moving story that was one of the first musicals created from a piece of historical literature set in the context of the Spanish Inquisition.

We encounter author Cervantes (Scott Bakula) in prison, awaiting trial. When his fellow prisoners try to take Cervantes' belongings from him, including his manuscript, he proposes a trial in which he proves the merit of his manuscript through a reenactment, enlisting his fellow prisoners as characters in his play. Together, they tell the story of the aged Alonso Quijana who believes himself to be a bold knight, Don Quixote, and pursues an obsessive quest to attain an impossible dream.

Against all odds, Quixote, and his trusty squire Sancho Panza (Kraig Swartz) take to the road in a quest to seek out the good and innocent in a despair filled world. The mad Don Quixote may think a windmill to be a giant but along the way he also transforms a wretched woman, Aldonza (Chelsea Field) into a beautiful lady.

Bakula is perfect in the role of Quixote. Any “Quantum Leap” fan knows that the man has the talent to immerse himself in a character as he did so well in his weekly series. In Peterborough, he truly becomes Quixote as a vulnerable aging man inspired with his vision of confidence. With an impressive musical background, (he is a 1988 Tony Award nominee for “Romance/Romance.”)  Bakula confidently performs the two most stirring ballads of the evening, "Dulcinea" and the standard bearer of the show "The Impossible Dream." Bakula commands the stage even when seated in the background of an ensemble scene or when he is front and center. There’s an engaging charm about the actor that audiences will enjoy.  

Swartz is a cuddly, loveable character as Bakula’s sidekick. He has a musical theater character voice and  seems no stranger to comedy as he delights in the numbers, "I Really Like Him" and "A Little Gossip."  Swartz and Bakula are a joy to watch especially as they ride their steeds on barrels with intricately crafted horse heads.

In a role that requires a demanding vocal range, Field is captivating in her portrayal as Aldonza, Quixote's love interest, both a bit playful and a bit feisty. Field shines in her numbers and is especially endearing in scenes with Bakula. A show favorite is her number, “What Does He Want from Me?”

Other performers take on multiple roles in the play within a play motif.

The clever tune, "We're Only Thinking of Him," is melodically delightful as performed by Antonia (Angelika Menendez), the housekeeper (Victoria Adams-Zischke) and the Padre (Gabriel Rodriquez). Rodriquez is the vocal powerhouse of the three and his rendition of "To Each His Dulcinea," is stunning.

Kurt Zischke makes a strong impression in the role of the Innkeeper and his dubbing scene making Quixote a knight is a great moment. Gus Kaikkonen adds a flair to the role of the Duke adding his melodic vocals to “We’re Only Thinking of Him.”

Patti D’Beck skillfully handles choreography particularly with the male chorus, Muleteers and the pulsating mystic dancers.

Tim Goss directed a seven-person orchestra that captured the array of musical styles in the show perfectly balanced with the onstage vocals.

Director, Charles Morey, an icon at the Peterborough Players directs the production masterfully with an incredibly realistic set by designer, Gary English, wonderful transitions in lighting by designer, Kevin Frazier, and a pace that works well. English’s set is perfectly detailed with a stone wall backdrop and a grand staircase that’s the centerpiece of the prisoner’s dungeon. (You could almost feel the dark and dank setting.)

The show is performed without an intermission and runs for one hour and 45 minutes. Morey’s direction keeps the action crisp during that time without a lag.

While audiences might know Bakula and Field from their television work, this is a rare opportunity to see them in live theater at its best in an artsy corner of New Hampshire. Their cross-country venture to this stage is well worth experiencing.  

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