Man of La Mancha

By Angie Bedford

Man of La Mancha

Man of La Mancha, like many other musicals, is inspired by a classic story in a number of reincarnations. First published in 1605, Miguel de Cervantes’ epic Don Quixote of La Mancha inspired a 1959 teleplay I, Don Quixote. The musical followed in 1965.

I confess that I approached the National Theatre last night with a sense of nostalgia, fondly remembering the 2002 production of Man of La Mancha at the Regent Theatre starring Anthony Warlow and Caroline O’Connor. 

The production was my first time viewing professional theatre, and the first time I reviewed a production, albeit for Year 10 Drama. Eight years on, I transferred these high expectations to CLOC’s production of Man of La Mancha, and I was not disappointed. 

Miguel de Cervantes (Zak Brown) and servant Sancho Panza (Adrian Carr) have been thrown into a dungeon, awaiting their fate at the hands of the Spanish Inquisition. However, they face another challenge – their new neighbours – prisoners who strip them of their possessions. 

Keen to protect his manuscript of Don Quixote, Cervantes establishes his defence in the trial by prisoners through enacting the Don Quixote’s story, and involves the other prisoners to play key roles. 

Director Shaun Kingma beautifully realises these two situations – between the ominous and dark dungeons and Don Quixote’s ultimate quest. There is a wonderful parallel between Quixote’s generally confused and veiled view of the world, and the prisoners’ uncertainty. 

In the same way that Quixote transforms wench Aldonza into his maiden Dulcinea (Rosa McCarty), unremarkable prisoners reveal a capacity for compassion. 

The ‘casting’ scene, where the prisoners are gifted with costumes and properties to assume their new roles, is humorous and leaves the audience with no confusion as to what will be the framework of the musical. 

Zak Brown delivers a wonderful performance as Cervantes/Don Quixote. His voice and gait helped differentiate between the witty and young Cervantes and the dotty and aging Quixote. I loved his first transition from Cervantes into Quixote as his characterisation gradually changed in sync with the application of the grey eyebrows, beard, and finally, the grey wig. 

Brown has great control over his voice, as demonstrated in his powerful but understated version of The Impossible Dream.

Sancho Panza was portrayed endearingly by Adrian Carr, as Quixote’s loveable sidekick. Although it suited the character, Carr’s New Yorker accent was out of place in 1500s Spain. Rosa McCarty played Aldonza/Dulcinea with fervour although I was surprised that she sang so classically in ‘It’s all the Same’ – I would have appreciated a little more rawness and gusto in her voice to establish Aldonza as a hardened, disrespected woman. 

That said, ‘Aldonza’ had more of this, so I took this to be an expression of her built up anger and hurt. 

Barry Mitchell transformed from the simple prisoner to the graceful Padre with ease. He was the vocal standout of the production, with a rich and refined voice.

Antonia, played by Frederica Cunningham, was reminiscent of Elizabeth I as she appeared in ‘I’m Only Thinking of Him’. She looked stunning and sang exceptionally, but was equally terrifying and cold.

I loved Mark George as an onstage Spanish guitarist who provided a wonderful dynamic to the group of muleteers, played by a well cast male ensemble.  Sam McPartlan, as Anselmo, sang ‘Little Bird, Little Bird’ with both fierceness and splendour.

The script tends to be cumbersome at times with a few too many unmemorable songs, and Act One is very top heavy –in the hands of a lesser director, it could be disastrous. Fortunately, scene changes were swift and dialogue generally well paced.

Tyson Legg’s orchestra, supported by Alan Green’s audio design, provided a wonderfully rich sound that carried throughout the National Theatre, reminiscent of glorious older musicals. I did, however, miss the overture (that appears on my original cast recording) which I think would have added that extra charm at the start of the show.
Tamara Finch’s choreographed movement was applied carefully and effectively. I can only imagine the hours of rehearsal, bruises and bandaids involved in choreographing the prisoner’s attack on Aldonza, which was incredibly precise and uninhibited.

The world of the play within a play was all performed against the harshness of the dark dungeon, realised in Graham McGuffie’s grand set, complete with heavy drawbridge. I lost count of how many transformations were made with relatively few set pieces, including a table and two frames. 

Although these were being used to create numerous convincing environments, they were a constant reminder that behind Quixote’s redeeming story was a much darker fate for the prisoners that portrayed it.

Well done to CLOC for bringing this classic back to the Melbourne stage.