Review: MAN OF LA MANCHA, This Tale of A Knight Errant Proves No Fool's Errand at Theatre 29

“Don Quixote”, Miguel de Cervantes’ epic Spanish masterpiece and arguably the world’s first modern novel, has survived the ravages of time since its initial publishing in 1605 as well as the pernicious predations of countless other “authors” who stole Cervantes’ story and published unofficial sequels to the tale over following years, particularly in the new world.  Ah, the lack of world-wide copyright protections (but it was the seventeenth century)!  The tale of the crazed knight and his noble crusade amidst an ignoble world, nevertheless made its indelible mark on Western literature and even gave the English language a new word, “quixotic”, meaning “impracticality in pursuit of ideals, especially those ideals manifested by rash, lofty and romantic ideas or extravagantly chivalrous action.”

PHOTOS BY CINDY DAIGNEAULT

In 1965, playwright Dale Wasserman, along with composer Mitch Leigh and Lyricist Joe Darion adapted the story of Don Quixote into its current best-known form, as a Broadway musical which has become a standard.  This work finds itself now on stage at Theatre 29.  The libretto is not, nor was never meant to be, an entirely faithful retelling of the novel, it is a unique adventure all of its own.  Artistic Director Gary Daigneault, staging the musical for the second time in his theatrical career, has created an insular universe that consists of the confines of a medieval dungeon. However, through imagination and engaging storytelling, it soars above the dank stone walls of this Inquisitorial prison and onto the dusty plans of Cervantes’ La Mancha.  A flight of fancy where windmills might be ogres and a ramshackle inn may be a grand castle and the world is redeemable through chivalry three centuries dead.  Musical Director Bianca Stoker had her challenge laid out plain on this project.  Having cut her teeth in teaching music to the venue’s summer youth programs for several years and making the leap into main stage productions with last season’s “My Son Pinocchio”, “Man of La Mancha’s” musicality would be a dilemma on par with ogre battles at least, but she handled it expertly.  Being able to showcase the strongest vocal talent you have while also providing a means for the secondary players to meld into their choral parts cleanly and without disruption is a task all Musical Directors have to balance; Ms. Stoker succeeded here in spades.  This piece doesn’t offer much chance (nor would it be appropriate) to have large dance numbers.  Choreographer Lisa Hodgson handled the dual role of movement and combat in this production.  Her handling of the “Battle in the Courtyard” scene between Quixote and Company verses the dastardly Muleteers was energetic and fun.  Also, the Gypsy dance was fluid and entertaining as they rob our heroic duo blind through dance and innocent seduction.  Technical Director Nena Jimenez kept the lighting suitably dark but not unlit and the sound quality was well balanced.  Her design was nuanced and effective for the space and the universe it portrays.  Costume Designer Tera Bottorff created a costume plot suitably period but not cumbersome.  The wardrobe additions the prisoners use from Cervantes’ trunk to dress their “characters” in the play-within-the-play, were believable and effective in conveying the representations they needed to convey.  Stage Manager Mike Lipsitz and his crew (who even made some background drop-ins through cell windows and dark crevices of the set to add some creep factor) kept the non-stop show running without a black out needed nor a curtain pulled. It would be a mistake to not list, as its’ own character, the stage setting.  Designed by professional architect Andrea Keller and Special Effects Designer Clark Hunter, the dungeon is multilayered, multifunctional (the transformation of the fire grate into a confessional was brilliant) and immersive.  The drawbridge effect for the descending staircase is a showstopper and definitely a new technological boost at this venue.

PHOTOS BY CINDY DAIGNEAULT

In the role of the fearless (though rather clueless) “Knight of the Woeful Countenance”, Don Quixote is Joe Chaplain. Riding the fine line between sanity and madness, this Quixote is affable and idealistic.  With solid vocals, Mr. Chaplain’s Quixote is one madman to root for.  In the role of our Don’s ever trusty sidekick, the jolly Sancho Panza, is Adam Shows.  Loyal, Trusting and almost as mad as his master, Mr. Shows brings boundless energy and strong vocals to his role.  In the role of the sharp-tongued kitchen wench, Aldonza, is the multi-award-winning actress Analisa Pilecki.  It has been a little while since Ms. Pilecki has been seen on area stages, but her signature mezzo belt amped the auditorium energy three-fold on each entrance.  This was a role she was born to play, equal parts saucy with a sting and self loathingly contrite, her transformation from “one born on a dung heap” to what Don Quixote chose to see, the scintillating Lady Dulcinea was achingly beautiful.  In the roles of the antagonists are The Duke (Kurt Schauppner) & The Governor (Dennis “Easy” Boos).  The de-facto leaders of the imprisoned , Boos’ Governor and Schauppner’s Duke are the Judge and Prosecutor on de Cervantes prison trial, the verdict being whether he keeps his belongings (and his skin intact).  Never mind that the real trial with the Spanish Inquisition is still in the offing!  Playing a counter role in Cervantes’ “play”, Schauppner’s Dr. Carrasco was appropriately aloof and clinically self-important, an augment and counterpoint to The Duke’s nasty, threat filled demeanor.  Boos’ role as the Padre in the tale added lightness and mercy.  His rendition of “To Each His Dulcinea” was skillfully soulful.  Adding in the bumblingly meek Innkeeper portrayed by Cruz Jimenez and his sharp-tongued wife, played by Kimberly Sonntag, their take on “Golden Helmet of Mambrino” and the knighting was funny and strongly sung. In the role of the villains, as if the world didn’t have enough of them here, were Pedro and the Muleteers, here played by Jered Palmer (who also played the hapless Barber from whom the aforementioned “helmet” was absconded) , Alon Evans, Julius Dean, Donivan Cox and Ron Bottorff (who plays a mean Spanish guitar!).  While several were a bit short in the tooth to play such hardened types (though, if we were being honest, in the real world of 17th century Spain, they probably weren’t much older!), they played their roles with gusto and nasty disposition. Mr. Palmer added a dark frame to his Pedro without going into caricature, while his Barber was a bit of a goof (as he is written). Alonso Quijana, as our hero is known in the sane world, has a small household who are here portrayed by Britney Vachon-LaGuardia as niece Antonia (betrothed to Dr Carrasco no less) and dutiful Housekeeper played by Tiffany Crocker.  Their take on “We’re Only Thinking of Him” was reverential and heartfelt. The remaining ensemble, taking up a variety of other roles (and horses!) are Lisa Troxel (as the Captain of the Guard), Colleen Badel, Samantha Stevens and newcomer Zaira Ferguson who made a mesmerizing gypsy dancer.

In a world which sometimes forgets that “impossible dreams” are still powerful motivations for change and evolution, “Man of La Mancha” holds up that torch for current and future generations.  If you are seeking something a little different, with a great deal of heart and a balance of laughter and sniffles, get your tickets now.  You will leave with a song in your heart and, just maybe, a “heavenly cause” of your own.  “Man of La Mancha” will be playing at Theatre 29 Friday and Saturday evenings at 7:00PM and Sunday matinees at 2:30PM through March 17th.  Tickets are available at theatre29.org/tickets, by calling (760) 361-4151 or at the door.

Coming up later this season at Theatre 29:

DADDY LONGLEGS – APRIL 5 – 14 - Music and Lyrics by Paul Gordon & Book by John Caird – Directed by Ian Ferris: Jerusha Abbott, the oldest orphan in the John Grier Home and the mysterious benefactor who sends her to college to be a writer. Required to write him a letter once a month, Jerusha is never to know the benefactor’s identity—so she invents one for him: Daddy Long Legs. She grows more and more fond of this elusive and kindly gentleman as their correspondence continues. Jervis Pendleton is the well-do-do uncle of one of Jerusha’s roommates who introduces her to a world of literature, travel and adventure. Through her correspondence with Daddy Long Legs and her growing intimacy with Jervis, Jerusha’s letters chronicle her emergence as a delightfully independent “New American Woman.” RATED PG

DISENCHANTED – MAY 24 – JUNE 9 - Book, Music & Lyrics by Dennis T. Giacino - Developed with and Originally Directed Off-Broadway by Fiely Matias – Directed by Charles Harvey: Poisoned apples. Glass slippers. Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. The original storybook heroines are none-too-happy with the way they’ve been portrayed in today’s pop culture so they’ve tossed their tiaras and have come to life to set the record straight. Forget the princesses you think you know – these royal renegades are here to comically belt out the truth. RATED NC-17 Contains adult language and themes.

CLUE – AUGUST 16 – SEPTEMBER 1 - Adapted from the screenplay by Jonathan Lynn, written by Sandy Rustin, additional material by Hunter Foster and Eric Price – Directed by Kathryn Ferguson: Based on the iconic 1985 Paramount movie which was inspired by the classic Hasbro board game, Clue is a hilarious farce-meets-murder mystery. The tale begins at a remote mansion, where six mysterious guests assemble for an unusual dinner party where murder and blackmail are on the menu. When their host turns up dead, they all become suspects. Led by Wadsworth – the butler, Miss Scarlett, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock and Colonel Mustard race to find the killer as the body count stacks up. Clue is the comedy whodunit that will leave both cult-fans and newcomers in stitches as they try to figure out…WHO did it, WHERE, and with WHAT! RATED PG

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