After reeling from a global pandemic that shuttered cultural centers around the world, bringing back fully formed theater, rich in artistry to an expectant and adoring audience, might have seemed like an “Impossible Dream” for Riverside Theatre and its patrons. But with the theater’s abundantly satisfying, professional production of “Man of La Mancha,” the dream becomes reality.
Indeed, this was a perfect choice for Riverside’s return to regular programming, as the musical’s theme explores, in part, never giving up the good fight.
Written by Dale Wasserman with music by Mitch Leigh and lyrics by Joe Darion, “Man of La Mancha” has been a continued favorite of theaters and audiences since 1965, when it first appeared on Broadway. With a “play within a play’” structure, the storyline follows author Miguel de Cervantes, who wrote the novel “Don Quixote.”
Wasserman sets the play in a prison dungeon during the late 16th century, when the Spanish Inquisition was in full bloom. Cervantes and his manservant are thrown into the dungeon along with a trunk of theater props. When a rough bunch of fellow prisoners threaten him and stage a mock trial, Cervantes pleads his case by re-enacting the story of Don Quixote, the knight errant who would battle windmills, which in his delusional mind were great beasts. He pulls from his trunk costumes, makeup and props to take on the role and gives supporting roles to his fellow downtrodden prisoners.
Director DJ Salisbury imbues the production with that rare mix of sensitivity and boldness. We see the dregs of humanity and, at the same time, bear witness to its nobility. Salisbury is also a talented choreographer (he created that short-lived but amazing ballet in Riverside’s “Carousel” last season), and he has filled the production with big movement and fine composition. It moves solidly through tight pacing, while at the same time allowing the pathos to rise, building it to a most moving conclusion.
And yes, you’ll need to bring hankies, especially when Broadway performer Edward Staudenmayer sings. You are drawn to his “Man of La Mancha” and catch your breath to “Impossible Dream.”
But the love song “Dulcinea,” will leave you a weepy mess.
Staudenmayer, who has a long list of credits including “Phantom of the Opera” and cast recordings, is the real deal. Moreover, his tender portrayal of Cervantes/Don Quixote finds that winning mix of pathos and dignity.
Lianne Marie Dobbs portrays Aldonza, the prison’s roughhewn and cynical serving wench who Cervantes casts as Dulcinea, the chaste lady for whom Don Quixote fights. Dobbs is simply splendid in this role. Not only does she have a technically strong voice, but she delivers excellent expression to every line.
Edward Juvier shows quite the acting and singing range as a poor, wretched prisoner who, when given the role of the Padre, becomes a dignified being. He sings beautifully the irony laced “I’m Only Thinking of Him” with Antonia (Caitlin Finnie), and the housekeeper (April Armstrong), who profess being worried about their uncle and master.
Tony Chiroldes is warm as Cervantes’ manservant, who takes on the comic role of Sancho Panza and explains his loyalty in “I Really Like Him.” Derrick Davis lends resonating power as Carrasco, David Benoit brings good dramatic presence as the innkeeper, and Wesley Slade brings a good touch of humor as the barber.
Music director Michael Gribbin leads an excellent seven-piece pit orchestra which rightfully laps up the applause from an admiring audience.
If this play within a play format feels like a bit of a challenge, don’t worry. You’re brought into the story slowly, inexorably, so it all makes sense. Wisely, Salisbury blurs the border between audience and stage by forgoing a curtain. Instead, as you enter the theater, you notice a stage mostly darkened but with murky details barely lit. It intrigues.
Then, the house lights slowly dim and you hear Craig Beyrooti’s sound design of the plop, plop, plop of water dropping into the clammy dungeon. The lights slowly come up on stage as characters drift in, like those drops of water, marking time, expanding the sense of waiting, waiting, for the axe to drop.
Scenic designer Michael Schweikardt creates a looming purgatory, with a giant staircase threatening to take one to what will probably be an awful fate. Lighting designer Travis McHale’s moody lighting amplifies the beastly maw. The array of dingy attire created by costume design Lauren T. Roark add to the desperation.
“Man of La Mancha” was inspired by Dale Wasserman’s television play, “I, Don Quixote,” which had been written in the late 1950s. Producers asked him to rewrite it into a musical, which opened in Greenwich Village in 1965. It opened later that year on Broadway where it won five Tony Awards and ran for six years.
Before all that, Wasserman had written “One Flew Over the Cuckoo’s Nest.” He also wrote screenplays, including an adaptation for “The Vikings,” which was made into a 1958 film with Tony Curtis and Kirk Douglas.
Intriguingly, although the music in “Man of La Mancha” is unforgettable, its composer, Mitch Leigh, never had another big hit. In fact, he made his living as a Madison Avenue jingle writer and was responsible for tunes to sell cigarettes and dog food. He also wrote the music to a popular Sara Lee commercial (“nobody doesn’t like Sara Lee”).
Just as remarkable is the fact that Joe Darion was not the first pick as lyricist. Producers actually wanted poet W.H. Auden to write the lyrics. However, after Auden reportedly argued for a different ending, producers turned to Darion, who gave us:
“To dream the impossible dream
To fight the unbeatable foe
To bear with unbearable sorrow
To run where the brave dare not go.”
Yes, this is a popular show. Since its Broadway debut in 1965, “Man of La Mancha” has been a favorite of professional, academic and community theaters throughout the country. But you will want to see Riverside’s production, which boasts splendid voices and strong visuals, all riding on a current of hope for a better future.
After the global pandemic interrupted two consecutive seasons, it is both heartwarming and thrilling to see Riverside Theatre do what it does so very well – produce exquisite theater.
“Man of La Mancha” runs through Jan. 22, 2023, at Riverside Theatre, 3250 Riverside Park Dr., Vero Beach. Tickets start at $45. Call 772-231-6990 or visit RiversideTheatre.com.
Photos provided
