Sometimes in life, all something needs is a fresh political climate to feel brand new again.
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| Photo courtesy of Theater Latte Da |
This was my main thought while watching Man of La Mancha, the premiere musical of Theater Latte Da’s 20th anniversary season. I’m sure we’ve all heard at least a portion of the story of Don Quixote and you’d be hard pressed to find a musical lover who has yet to hear a raucous rendition of “The Impossible Dream,” and I’ll confess: I wasn’t sure we really needed another staging of Man of La Mancha.
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| Photo courtesy of Theater Latte Da |
Post-performance, I will happily admit that I was very, very wrong. Clipping in at an intermission-less 110 minutes of non-stop action (be still my expediency-loving-heart!), Man of La Mancha Latte Da-style is engrossing, emotional, and even (dare I say it?): a little avant garde.
For an overview of the story as quick as Latte Da’s staging, lest any reader missed their Wishbone: Man of La Mancha is the musical re-imagining of the story of Don Quixote, Miguel de Cervantes’ eternal novel that launched a thousand literary copycats. Don Quixote is the self-appointed name of Alonso Quixano, a lesser nobleman who spends his retirement immersed in literature about the long-gone traditions of knighthood and chivalry. Somewhere along the way Quixano become convinced he actually IS Don Quixote, and sets forth to return Spain to the days of chivalry and manners and jousting and vigils. Alongside Don Quixote is his faithful companion Sancho, who is firmly rooted in the real world and able to help his friend safely navigate the visions he summons at every turn. They meet giants disguised as windmills; a castle disguised as a lowly inn; and a beautiful lady Dulcinea disguised as a lowly prostitute named Aldonza.
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| Photo courtesy of Theater Latte Da |
Don Quixote’s illusions are relatively harmless to anyone but himself and are even found charming by several he encounters, until it becomes clear that the line between reality and fiction is becoming too unbearable for those around him to maintain. This mainly affects Aldonza, who struggles to marry her painful life of suffering with Don Quixote’s endless adulations. Things come to a head when Don Quixote is finally tricked out of his madness by his nephew and enters the end of his life a much “saner,” but unhappier, man. Woven throughout the action for this production is a trial of Cervantes himself, who performs the story of Don Quixote as his defense. Although it sounds a little weird, the intermittent trial really helps to keep the narrative moving and allows us to hear some of Cervantes’ thoughts on his master work that bring even more relevance to the story of Don Quixote today.
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| Photo courtesy of Theater Latte Da |
The excellence of this performance is a testament to the wonderful cast, who are punchy and precise in their delivery and keep the action humming along. Anchoring the cast is the tremendous Martín Solá. Solá has a ravishing voice and emphatic delivery that instantly make him sympathetic, and it’s impossible to resist being captivated by his noble, charming rendition of Don Quixote (and as an aside, can I just say: how refreshing to have someone who actually has a Spanish heritage play this role?!). Meghan Kreidler is perfectly paired with Solá as the fiery Aldonza, bringing her trademark strength and vitality to Man of La Mancha‘s most difficult scenes to watch. Her devastating performance provides a strong antidote to Quixote’s charms, and it is through her pain (and later adoration) that we can see the strongest heights and pitfalls of Don Quixote’s impact.
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| Photo courtesy of Theater Latte Da |
The rest of the ensemble sylphs nimbly between multiple roles and constructs a rock-solid melodic foundation for the rest of the show. This is a cast so musical that you can hear their singing as they speak, from Rodolfo Nieto’s thundering basso to McKinnley Aitchison’s trilling (and thrilling) soprano. Jon-Michael Reese provides some much-needed comedic relief as the Padre, hilariously mediating a scene at the confessional and showing empathy for Don Quixote’s plight when others are only ready to laugh. Andre Shoals bring mesmerizing presence as the Governor who puts Cervantes on trial, and Sara Ochs lends operatic gravitas to her role as the Housekeeper. The ensemble’s impressive musical prowess is on full display by the end of the show, in which a rousing reprise of “The Impossible Dream” leaves the audience with full hearts and damp cheeks.
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| Photo courtesy of Theater Latte Da |
The costumes are ingeniously designed by Rich Hamson and feature delightfully macabre masks for each scene set in the fictional La Mancha. I was fixated on the masks, which are somewhere between a Hamlet skull and Dia de los Muertos attire and are utterly transformative. The swift costume changes are simple but completely metamorphic, and Hamson’s work is a testament to the value of truly thoughtful design. Hamson’s work is greatly assisted by the fabulous lighting from Marcus Dilliard, which transports the story to new dimensions. Deceptively complex operations such as placing the characters into top-lit chessboard squares or washing the entire frame in a violent crimson hue instantaneously alters the tone and provides the transition feeling usually assigned to scene changes, which aren’t really present here. Mason and Dilliard’s work in concert is all the cast needs to elevate Man of La Mancha to a whole new level, and they succeed swimmingly.
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| Photo courtesy of Theater Latte Da |
It’s amazing how context changes the tone of everything, and this Man of La Mancha is no different. It’s become a tired, overused cliche to talk about the difference in the world since our recent presidential transition. I don’t mean to harp on it, but Don Quixote’s apparent madness really seems so much more complex in light of current events. What could seem more pressing than the story of a man who is so delusional that he lives in a totally alternate universe, to the consternation of all who encounter him? Or conversely, and perhaps more relevant: how mad is it, really, to turn away from the cruelty and suffering of the real world and instead work with all of your heart and might to create a better, more beautiful one, even if it should cost you your sanity in the end? After all, as Cervantes writes:
“When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams — this may be madness. Too much sanity may be madness — and maddest of all: to see life as it is, and not as it should be!”
This Man of La Mancha is not to be missed; the music is lovely, the staging is tight as a drum, and you’ll see a whole new side to a classic work of literature and theater. Man of La Mancha runs at the Ritz Theater through October 22; for more information or to buy tickets, click on this link.