Man of La Mancha

Reviewed by Holly Bartges

One of the finest productions ever to grace the stage of Country Dinner Playhouse currently spreads its charms as Man of La Mancha.

Gary Lindemann as Cervantes/Don Quixote stars in the Country Dinner Playhouse Production of Man Of La Mancha.

Written by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion, this production features Gary Lindemann who wears the mantle of Miguel De Cervantes, who tells the story of Alonzo Quijana playing out the fairy tale life of Don Quixote. Wasserman’s rich voice gives heart, depth, and soul to the three well-defined characters.

Produced and directed by Paul Dwyer, CDP’s executive producer and artistic director, this show glistens with exquisitely defined characters, played by actors juggling more than one role. So distinct are the characters, there is never any question who is who, when or why. No small trick for cast and director.

Man of La Mancha opened at the Anta Washington Square Theatre November 22, 1965. Because of its critical success, it was transferred in March 1968 to the Martin Beck Theatre on Broadway culminating in 2,328 performances, going down into the record books as the third longest running musical of the 1960s.

Based on Cervantes’s novel “I, Don Quixote,” it provides a wide view of 17th Century Spanish society, taking pot shots at the Catholic Church, Spanish politics, and the duality of the Spanish character through comic/tragedy satire. A highly popular book since it was first written, “I, Don Quixote” has often been called the first modern novel. Cervantes started his novel in 1605 while he was in prison, finishing it in 1615.

Something there is within the human spirit that eagerly feeds on the basic story, and something there is within the human spirit that feasts on Man of La Mancha. Perhaps it is the hope, always the hope of transformation into the ideal so magnificently encompassed in the highly popular song “The Impossible Dream (The Quest).”

On a set magnificently designed by Rob Westan that displays an area of a Spanish prison, it fits onto the theatre of the round stage as though it belongs there. A creaking staircase is slowly lowered into the dark pit where prisoners are escorted to wait appearance before the court of the Spanish Inquisition. Two guards slowly take Cervantes and his faithful servant, (Jimmy Ferraro) down the imposing staircase only to be greeted by a horde of thieves and murderers.

Not only do they have the Spanish Inquisition to look forward to, the two discover they also must stand trial before the self appointed leader of the prison, The Governor (Craig Lundquist). The well-established inmates dive into Cervantes’ belongings, grabbing and giving away everything they find. It is Cervantes’ manuscript that matters most to him. In his own defense, Cervantes requests to dramatize a story. The Governor agrees, and Cervantes assigns various parts to the lowlife surrounding him.

He tells the story of Alonzo, a country squire, overwhelmed by the evil of mankind who steps outside his sanity assuming the position of a knight, dubbing himself Don Quixote of La Mancha, champion of the oppressed and righter of wrongs.

With his servant by his side, Sancho Panza, (Ferraro), Quixote goes after evildoers. Never mind that he attacks windmills, never mind he mistakes a common inn for a castle, never mind he scrapes a common whore reeking with kitchen smells and elevates her to “his sweet lady” as Dulcinea (Jean Arbeiter), and never mind Sancho goes along with him with imbedded humor and willful empathy, his charm overwhelms.

Arbeiter’s depiction of the slimy whore Aldonza is pure magnificence. Confused by being called a “sweet lady” and a “fair virgin” she meets Quixote with sneering feisty spitefulness and biting rejection. She is amazingly believable. Her confused state of being culminates with the beautifully choreographed song “What Does He Want of Me.”

Alann E. Worley choreographed the production defining the music, defining the characters, defining the intent, wonderfully conceived and extraordinarily executed from start to finish.

Robert Hoppe and Joanne Kearns deliciously capture attention as Quixote and Sancho’s horses, Anselmo and Gypsy. The devised personalities are more fun than a circus of trick ponies. The prancing antics demand and command their own attention stealing a scene or two without intending to.

Marcus Waterman fills the shoes of the Duke of the thieves in prison as well as Dr. Sanson Carraseo and the Knight of the Mirrors. He provides all three characters his full attention as only Waterman can do with strength, power and authority.

Distraught over her Uncle’s strange behavior, Antonia, Alonzo’s niece, (Erica Hursh) appeals to Dr. Carraseo for help. She confesses to the Padre (Jeremy Sorote) “I’m Only Thinking of Him” as does his Housekeeper wonderfully transformed from a grubby prisoner by Sue Leiser.

One of the many highlights of the productions belongs to Ferraro when Dr. Carrasco, Padre, Antonia and the Housekeeper appeal to Sancho as to why he puts up with Quixote’s unruly, insane behavior. In comic humility and unapologetic empathy he sings “I Really Like Him.” He means it, and you believe him. Ferraro also knows how to set the giggles in motion with his “A Little Gossip.”

The juxtaposition of the Muleteers and Cervantes singing the sweet song “Little Bird, Little Bird” as the Muleteers ravish Aldonza is breathtaking. The Padre nearly stops the show with his “To Each His Dulcinea, and Quixote definitely does when he sings with his heart the beloved “Impossible Dream.”

Costigan’s natural comic ability, lends itself spectacularly as the Barber commanding eye-popping attention when he sings “Barber’s Song.”

The transformation of Aldonza at Alonzo’s deathbed is remarkably realistic even though Alonzo has forgotten his Quixote adventures, and does not seem to even know who she is. The impact of a Dulcinea reaches deep within Aldonza. Arbeiter knows precisely when and how to release the mythical Dulcinea over the demeanor of Aldonza.

Every scene becomes a highlight in this production. It snuggles so wonderfully onto the stage and theatre in the round, it almost feels as though it was written especially for Country Dinner Playhouse. The music fills the rafters with Mitch Samm as Conductor and on the Keyboards, Neil Haverstiek on the guitar and Tag Worley on Percussion. Emotions run hard, fast, and furious with intelligent thoughtful character development. Every member of this cast owns their character singing the songs not from memory, but from the heart. No one slips or slides behind their honest believable costumes designed by Joanne Kearns and Stage St. Louis.

Man of La Mancha is a masterpiece of musical theatre with its ingenious use of space, illusion, artistic presentation, fun frivolity, accosted seriousness, rich characters, and musical triumph.

Call early for reservations. Man of La Mancha whispers a sell-out.