Review: 'Man of La Mancha' at Westport Country Playhouse

Dedicated to my parents, who owned the cast album on vinyl

Westport, CT - Westport Country Playhouse opened MAN OF LA MANCHA, the winner of five Tony Awards including Best Musical, to a sold out crowd on Saturday. The 1965 musical that tells the story of Don Quixote’s battle for good and the love of his fair maiden was written by Dale Wasserman (ONE FLEW OVER THE CUCKOO’S NEST) with music by Mitch Leigh and lyrics by Joe Darion. The “fiery” production is directed by Westport Country Playhouse artistic director Mark Lamos and runs at the lovely playhouse through Oct. 14, 2018.

MAN OF LA MANCHA was inspired by Miguel de Cervantes’ tome Don Quixote. The story within a story celebrates the perseverance of an aging gentleman who refuses to relinquish his ideals or his passion. We encounter the historical author in prison, awaiting trial by the Spanish Inquisition.When his fellow prisoners try to take the author Cervantes’ belongings from him, including his manuscript, Cervantes proposes a trial in which he proves the merit of the manuscript through a reenactment, enlisting his fellow prisoners as characters in his play.

Together, they tell the story of the aged Alonso Quijana who believes himself to be a knight errant, names himself Don Quixote, and pursues an obsessive quest to attain an impossible dream. Quixote and his squire Sancho Panza set out on an imaginative journey to restore the age of chivalry, to battle evil, and to right all wrongs Their adventure leads them to Aldonza, a prostitute, to whom Quixote is the first to show respect as his lady “Dulcinea.”

The first act closer is the musical setting of Don Quixote’s credo, “The Impossible Dream,” and the audience truly is taken on an imaginative journey as he tilts at windmills and fights for good and the chaste love of his fair maiden in this sweeping tale based on the first few chapters of Cervantes’ masterpiece.

The musical first played at the Goodspeed Opera House in Connecticut in 1965. Although it is touted as one of the most-produced musicals of all time performed in scores of languages, I personally had not ever seen this version in any language. However, because I had reviewed the production of the teleplay (that predates the musical) I, DON QUIXOTE at the Waterbury Arts Magnet School, I was at least aware that the setting is a dank Spanish prison. Mr. Lamos writes: “Its story is not only universal but inspiring, and the journey of its central characters remains ever-resonant to every period in which it is produced.”

'There is remedy for all things except death - Don Quixote de la Mancha'

Philip Hernandez, Broadway veteran, heads the 14-member cast as Cervantes/Don Quixote. Mr. Hernandez is only actor in Broadway history to play both Jean Valjean and Inspector Javert in LES MISERABLES and was in the original Broadway casts of KISS OF THE SPIDER WOMAN and Paul Simon’s THE CAPEMAN. In the title role, this veteran actor shines in every way. He tugged at the heartstrings as the errant knight and his wonderfully deep speaking voice and rich baritone were perfect for the role. The line "Facts are the enemy of truth!" brought an audible reaction from the opening night audience.

Gisela Adisa (Broadway’s “Beautiful”; First National Tour of “Sister Act”; New York’s “Marie Christine”) mastered the role of Aldonza/Dulcinea in her Westport Country Playhouse debut with a beautiful singing voice and plenty of the necessary strength of character. Yale School of Drama graduate Tony Manna as Sancho Panza was a delight.

Almost all of the actors are Equity members and all but the two leads also played prisoners. Every member of the cast made their debut with the Westport Country Playhouse except for Clay Singer (ROMEO & JULIET) who played the Duke and Carrasco. Ceasar F. Barajas appeared as Pedro, while Michael Scott Gomez played Paco, a scary guard and one of the knight’s horses. Paola Hernandez (National Tour of “Rent”) stood out as Quixote’s niece Antonia, Michael Mendez (Broadway’s “Chaplin”) brought out the humor as the innkeeper and Tenorio, and Ian Paget (Broadway’s “Mamma Mia”) was Captain and Anselmo.

Lulu Picart (First National Tour of “Rodgers & Hammerstein’s Cinderella”) was very good as Maria and the housekeeper and Jermaine Rowe (Broadway’s “The Lion King”) was Juan/Guard/Horse. David Sattler (European Tour of “Grease”) played the Governor, and Esteban Suero was the singing Barber and José.

Carlos Encinias (Broadway’s “Mamma Mia,”Off-Broadway’s “Altar Boyz”) had a clear voice as the beloved Padre, the role played by my son at WAMS. There were bits of Spanish audible at some points, with “Este fuego (this fire)” the opening line in the prison. Overall the pronunciation was very good and did not distract.

Andrew David Sotomayor was the very talented music director with Wayne Barker as music supervisor and Marcos Santana in charge of the musical staging and choreography. The seven musicians seated up in the balcony that surrounds the orchestra seats played the score beautifully and there were beautiful vocal harmonies throughout. The memorable “Man of La Mancha” and “The Impossible Dream” were just as I expected, but “We’re Only Thinking of Him” was just fun.

Wilson Chin was in charge of the scenic design that took us from a dank prison in the city of Sevilla and from there to many places in the mind of Cervantes. The iron bars that acted as a curtain were very impressive and there was a rising staircase that was effective, if not of the era. I wasn’t sure how I felt about the massive mirrored knight that appeared to the knight, but it did help to convey his madness. Costume design by Fabian Fidel Aguilar was perfectly suited to each character and seemingly ever changing. The lighting design of Alan C. Edwards was most effective with good sound design by Domonic Sack. Michael Rossmy served as both fight director and intimacy coach.

The performance schedule is Tuesday at 7 p.m., Wednesday at 2 and 8 p.m., Thursday and Friday at 8 p.m., Saturday at 3 and 8 p.m. and Sunday at 3 p.m. Special series feature Open Captions in Spanish (October 13). Single tickets start at $30.

Nancy Sasso Janis has been writing theatre reviews since 2012 as a way to support local theatre venues. She posts reviews of well over 100 productions each year. In 2016, she became a member of the Connecticut Critics Circle. She continues to contribute theatre news, previews, and audition notices to local Patch sites. Reviews of all levels of theatrical productions are posted on Naugatuck Patch and the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and on Twitter @nancysjanis417. Be sure to check out the NEW Connecticut Critics Circle Facebook page.