Production captures tale of chivalry
‘Man of La Mancha,' now at Laurel Mill Playhouse, has won romantics since 1965
Hopeless romantics have an opportunity to embrace their inner chivalry in Laurel Mill Playhouse's production of one the most enduring works in musical theater, “Man of La Mancha.”
With book by Dale Wasserman, lyrics by Joe Darion and music by Mitch Leigh, the Playhouse production is produced by Maureen Rogers, and directed by Playhouse newcomer Daniel Douek, with musical direction by Laurel resident Mimi McGinniss.
The American musical, loosely rooted on Spanish novelist Miguel de Cervantes' well-known 17th-century “Don Quixote,” opened on Broadway in 1965, winning five Tony Awards, including Best Musical.
Translated and performed in dozens of languages and reprised on Broadway four times, it has introduced the song “The Impossible Dream” to optimists all over the world.
At the Playhouse, set designer Brian Douglas' interpretation of a dungeon during the Spanish Inquisition is a pretty and functional work of art. Beautifully appointed with burlap, metal bars, wood and fire pits, the set easily facilitates Douek's intricate staging.
Hand-painted faux stonework spilling from the wall flats onto a small section of the floor creates a particularly pleasing visual as Michael Hartsfield's lighting design bathes the locale in romantic light and shadow.
Striking period costumes by Sascha Nelson, Cynthia Anderson, Lisa Oberg and Kat McKerrow, and James Schmidt's custom leatherwork, are also lovely to look at.
As the curtain rises, a story-within-a-story plot device introduces the first of three characters, all portrayed by lead actor Fred Nelson.
Nelson's first character — Cervantes — is an author-soldier-actor and tax collector arrested for foreclosing on a monastery. Cervantes is thrown into a holding cell along with his loyal friend and manservant, Sancho, played by Alan Barnett, and all of their possessions.
The other prisoners, led by Richard Greenslit as the cheeky Governor/Innkeeper, immediately convene a mock trial with plans to confiscate Cervantes' belongings, especially a manuscript that he intends to burn.
As the prisoners, the ensemble cast offers up a motley crew of fascinating eccentrics. The body language and facial expressions of Joseph Mariano as the lunatic are flawless, and all of the actors exude interesting characters.
Cervantes just happens to have a trunk full of theatrical costumes and makeup in his possession and convinces the Governor to allow him to present his defense as a play enacted by the prisoners.
Enter Nelson's second character, Alonso, a madman who believes he is fated to go forth as a knight-errant named Don Quixote, also played by Nelson, and the story-within-the story begins.
In the title musical number, “Man of La Mancha (I, Don Quixote),” Nelson as Quixote and Barnett as Sancho create a magnificent chemistry.
Don Quixote blindly directs his chivalry to a scullery maid named Aldonza, portrayed by Mary Wakefield, whom he persists in calling Dulcinea.
John Brown delivers a fine performance as Dr. Carrasco and the Knight of the Mirrors, as do Tracy Davidson and Christine Thomas in supporting roles as Alonso's niece, Antonia, and her housekeeper.
Forty beautifully performed musical numbers accompanied by McGinnis' pit orchestra — Gary Eurice on guitar; Mari Hill, Carolyn Williams on flute; Brian Simon on clarinet; Rich Sigwald, Dave James and Matt Vross on trumpet; Josh Berkey on euphonium; and Walter Jackson on drum — take audience members on an exciting journey as Cervantes' pending interrogation with the Spanish Inquisition is forgotten.
One of many excellent moments in her performance and Douek's stage direction is the stylized physicality Wakefield exudes in “Abduction,” a scene in which Aldonza is beaten and raped. And in “What Does He Want of Me?” and “Dulcinea,” Wakefield's vocals ring strong and clear.
Nelson's vocals also never falter; his first and three reprisals of “The Impossible Dream” are particularly stellar.
A tight and talented ensemble — Ronald Araujo, Penny Barnett, Kristina Brooks, John Brown, Cathy Clark, Gary Eurice, Kel McClanahan, Tracy Davidson, Joseph Mariano, Trent Murphy, Rocky Nunzio, Ruta Douglas Smith and Christine Thomas — transition between their multiple characters without missing a beat.
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