Ivoryton Playhouse mounts an inspirational "Man of La Mancha"

Opening September 7, the Ivoryton Playhouse capped off Artistic Director Jacqueline Hubbard’s 25th season with a magnificent production of the landmark musical “Man of La Mancha”. In my 80 years of seeing and participating in Community and Regional Theatre, I have not seen a better cast and staging of this classic save possibly the original Tony-winning Broadway production. If any show this season deserves a “must-see” rating, it is this one.

Seeking an musical adaptation of Miguel Cervantes’ Don Quixote, called “the best literary work ever written”, telling of a delusional landowner who believes himself a knight destined to right wrongs and restore chivalry, Dale Wasserman had the brilliant idea of presenting it as a play within a play. The poet and author has been imprisoned by the Inquisition and must act out his story to entertain his fellow prisoners and prevent them from burning his novel as firewood.

Bass-baritone David Pittsinger, a renowned Connecticut-raised opera and musical star heralded at Ivoryton last year as Emile in South Pacific, is featured as Cervantes as well as his idealistic knight, and his moving performance of “Dulcinea” and “The Impossible Dream” brought tears to the eyes of my neighbors (and mine were a bit wet as well). Talia Thiesfield, another native of the Nutmeg state, matched his acting intensity with a fiery performance as the tormented scullery maid Quixote believes to be his inspiration. As the loyal but put-upon squire Sancho Panza, Brian Michael Hoffman is a comic delight with his upbeat optimism and an endless supply of maxims, and the Director of this outstanding show, David Edwards, doubles as Cervante/Quixote’s menacing nemesis, Dr. Carrasco.

Special mention should also go to Matthew Krob, as the Padre, and Stephen Mir as Anselmo, for their musical solos, and to Amy Buckley and Melissa McLean for their portrayal of oh-so-pious but sanctimonious relatives. Choreographer Todd Underwood created appropriate movements for the company on the multi-level stage for everything from a battle or an assault to a pair of lugubrious equines. Indeed there was not an indifferent role or weak voice in the entire cast, and their inspiring finale brought the audience to its feet in a well-deserved show of affection.

My only quibble would be the small size of the orchestra, necessitated by the limited room available. Led by Musical Director Paul Feyer, they provided good accompaniment for these splendid singers, but the arrangements of the purely orchestral numbers too often did not allow the melodies to shine through as they should. Don’t let this minor nit dissuade you from seeing one of the finest shows ever presented by the Ivoryton Playhouse. It is scheduled through October 2, but I wouldn’t be surprised if clamor for tickets would extend its run.