Review: Garden Theatre Reimagines MAN OF LA MANCHA as a Tale for Our Time

MAN OF LA MANCHA might be Broadway's definitive ode to the imagination, so it's fitting that the Garden Theatre is imagining the show anew. This latest production puts the classic tale of Don Quixote and its author in an almost shocking new context - one that's as powerful as it is surprising.

First staged in 1965 and repeatedly reprised, MAN OF LA MANCHA supposes that Miguel de Cervantes, who in 1615 published the classic novel Don Quixote, might have been arrested during the Spanish Inquisition for crimes against the crown - namely, acting in a play that dared to question the church. While awaiting trial, Cervantes's inmates turn on him and, in a sort of mock court procedure, demand that he defend his profession as poet and thespian in such serious times. To make his case, he acts out the story he's been working on, that of a kindly old madman who falsely believes himself to be an adventuring knight named Don Quixote. Thus begins a play within a play, the inmates each taking on a role of their own.

It's that outer frame that the Garden reconsiders. Though the dialogue largely stays the same, with references to the Inquisition intact, Cervantes's prison is very clearly a U.S. immigration detention center in the 21st century, not the dirty cave of the original staging - but every bit as uncomfortable and inhumane.

The show opens with a terrifying thud as an armed detention captain (played by the aptly intimidating Janine Papin) escorts Cervantes and his manservant to a bleak and imposing steel cage that occupies the entirety of the Garden stage, extending even into the seldom-seen wings. Their walk down the aisle from lobby to stage is a brilliant evocation of classic LA MANCHA (in which Inquisition guards enter the cave down a ramp) but also a stark statement on justice in America today, as the guard physically threatens the men for speaking Spanish.

As Cervantes commences his playacting, the front prison wall ascends into the rafters, and the inner narrative begins. Bert Scott's scenic design is impressive not only in its machinery but also - and even more importantly - in its transformation of this age-old story into a tale for our time.

Miguel Salas is a good-natured, full-throated, and whole-hearted Cervantes/Quixote. He sings "The Impossible Dream" with the idealism and vibrato it demands. Radamés Medina Meléndez, who returns to The Garden after a memorable turn in Godspell, puts a unique and instantly likeable stamp on the role of Manservant/Sancho (Quixote's loyal companion). Meléndez again proves himself to be a worthy comedic actor and a lovely singer to boot. What most impresses me is how distinctive he is here from his performance in Godspell, even though the same frolicsome sensibilities have clearly served him well in both parts.

Annabell Mizrahi has a triple challenge in playing her part across three layers: first as a nameless prisoner, then as Aldonza (a prostitute/wench within Cervantes's narrative, and the object of Quixote's affection), and finally as Dulcinea (a woman of Quixote's fantasy and an identity that Aldonza was must decide whether to accept). It's a tall order for any actor, especially in light of one distressing scene that chillingly implies sexual assault. Mizrahi goes for it and mostly succeeds, even if the occasional line reading falls short of convincing. Still, her powerful singing voice certainly registers as more tuneful than Sophia Loren's from the movie version.

The role of Governor / Innkeeper presents a challenge too - he must be stately but rough-and-tumble, friendly but sometimes frightening. Mark Ferrera is up to the task, giving his every line just the right tone. Josh Oliveras is effectively menacing as the antagonistic Dr. Carrasco / The Duke. (Oliveras is also assigned a villainous minor character named Pedro, who in larger productions is cast with an additional actor. Here, while Oliveras plays both parts well, the shift isn't necessarily easy for the audience to track, but neither is it especially consequential.)

Finally, I'd be remiss not to highlight the sensational singing ability of at least three other performers: Marquise Hillman (as Tenorio / The Barber), Omar Mulero (as Padre), and Olga Intriago (as Antonia / Fermina). The latter two feature prominently in a standout number, "I'm Only Thinking of Him," which thanks to Scott's playful stage work and lighting design is a highlight in more ways than one.

Historically, MAN OF LA MANCHA has cast white actors in most of its roles, despite its setting. The Garden "rights the unrightable wrong" by instead casting actors of color.

In its Broadway debut, MAN OF LA MANCHA was known for omitting all the strings from its orchestra with two exceptions: bass and guitar. In that same spirit but going a step further, The Garden strips the arrangement down to just guitar, xylophone, and miscellaneous percussion, all of it performed onstage by the characters using whatever they happen to have in their cell. On the one hand, it's wonderful to see live instruments on The Garden stage (something we've seen with increasing frequency of late, and the venue promises more to come in the future). On the other, one does miss the classically Broadway orchestrations this show is known for. Given my druthers, I'd have heard at least a horn or two from the set. Alas, there is one moment when the actors bang metal trays in lieu of drums... a nice effect in theory, but in this room overbearing and abrasively loud. Still, that won't stop you from walking away singing the main theme for the next two nights.

From an audience perspective, MAN OF LA MANCHA can be a challenging show because of its complex, epic prose (written for Shakesperean intonation, perhaps problematically so). The gist is easy enough to digest, but even with a script in front of us, some of the dialogue could be difficult to process on the fly. Add to that the multi-layered narrative and - in Covid times - face masks on all the performers, and it's easy for first timers to lose their grasp. The Garden's reimagined LA MANCHA may be best suited for those who have a passing familiarity with the musical and/or the tale of Don Quixote. That doesn't mean newcomers can't join in, but a bit of preparation will help. (The aforementioned movie adaptation is an affordable $4 rental online, while the original cast recording streams on Apple Music and Spotify.)

The homework is worth it. MAN OF LA MANCHA is a show that puts an actor on trial for speaking truth to power. The inmates pantomime court as a form of contemplation of their own systemic victimhood. Having been denied justice, they try desperately to create some of their own. Their mock trial grapples with questions of identity, judgment, discouragement, and societal shame. Ultimately, it is art that changes hearts and minds. Those themes make MAN OF LA MANCHA ripe for our time, and director Joseph C. Walsh and his creative team have found a way to make that relevance searing and apparent. It's nice to see regional theatre embrace such rich and demanding material. And given that The Garden's new season is all about identity, they couldn't have picked a better opening act.

MAN OF LA MANCHA runs through September 19, 2021 in downtown Winter Garden, FL. The Garden's production is appx. 105 minutes and, as in the original Broadway run, proceeds without intermission. Socially distanced seating is limited and an array of COVID precautions are in effect. Concession sales are suspended. Audience members must wear face masks at all times, while performers now don transparent mouth coverings. Tickets and season passes are available through the Garden. The venue's previous production sold out, so you'll want to act while you can.

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What did you think of MAN OF LA MANCHA at Garden Theatre? Let me know on Twitter @AaronWallace.

Photos by Steven Miller Photography, courtesy of Garden Theatre

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