By Bill Cissna Special Correspondent
The Little Theatre of Winston-Salem will open its production of the 1965 Tony Awardwinningmusical “Man of La Mancha” on Friday on the Dunn stage at Southeastern Center for Contemporary Art.
The Little Theatre of Winston-Salem will open its production of the 1965 Tony Awardwinningmusical “Man of La Mancha” on Friday on the Dunn stage at Southeastern Center for Contemporary Art.
With a relatively small cast for a musical, “La Mancha” portrays parts of the story of Don Quixote, as performed by a cast of prisoners directed by the famous novel’s author, Miguel de Cervantes.
The notion of Cervantes protecting the manuscript of the novel that secured his fame, mostly after his death, from the Spanish Inquisition and playing out his story with prisoners is a mostly fictional creation of writer Dale Wasserman. He based it on his own non-musical teleplay, “I, Don Quixote”1959).
The songs that carry the tale forward, including the popular “The Impossible Dream,” were composed by Mitch Leigh (music) and Joe Darion (lyrics).
In short, as Wasserman repeatedly insisted, “Man of La Mancha” is not a musical version of “Don Quixote” the novel. But it takes its themes and shares segments from Cervantes’ sprawling novel — released in two parts in 1605 and 1615 — as inspiration.
Mark Pirolo, who directs “La Mancha” for Little Theatre, said that the show is “a very distilled version of the novel, which is to say that the novel is huge.”
Pirolo first directed the musical 35 years ago, but, for a variety of reasons, didn’t feel he understood it very well. This experience is turning out better.
“In many cases,” he said, “this cast is infinitely more talented than that cast was. There are no bad voices in this show, and the acting is strong as well.”
While the music is as important or more so than in most musicals to Pirolo, having that cast of actors is also making it easier to dig deeper into the characters.
“What makes this musical appealing to me as a director is that I actually get to deal with the actors as actors and not mostly in charge of traffic control,” Pirolo said. “We’re experiencing a rarity which is that we’re really finding time to sit down and to discuss who these people are.”
Pirolo also has the benefit of a lead actor with in-depth experience in the role of Cervantes/Don Quixote.
Chuck King was 23 years old when, in 1983, he was cast as Cervantes/Don Quixote at Little Theatre. He freely admits that he has a different perspective on the role now.
“I’m approaching it from the exact opposite end,” King said. “It all centers around one line in the show when Cervantes says ‘I have lived nearly 50 years.’ When I was 23, it was like, ‘oh, my God, I can’t even say this with a straight face.’ And now, I have to act backwards.
“All of a sudden, the idealism that is presented in the story starts to make more sense. And the notion of Cervantes, who is older in the story, and Quixote, who is quite a bit older, that they are still dreaming. For Quixote in particular, it’s the one thing that keeps him going.”
For Christine Gorelick, it’s her first time playing Aldonza/Dulcinea. She knew the songs growing up, particularly “The Impossible Dream,” and she brings the experience of acting in many musicals to the table.
Aldonza’s songs, however, are perhaps among the most character-driven songs she’s done.
“She’s a different kind of role, basically a kitchen slut, a servant in her life, and now imprisoned.”
Yet, Cervantes casts her in the female lead, and Don Quixote sees this Dulcinea vision of an ideal woman in the story. “She has a new vision of herself by the end,” Gorelick said.
The “La Mancha” cast also includes Rodney Allen, Chantel Bryant, Jamie Duncan, Amanda Hicks, Michael Hoch, Angela
Hodges,. Jonathan Howle, Troy Hurst, Sarah Jenkins, Trevor Ketterling, Deborah Koerner, David Nichols, Rebecca Perello, Ken Rogers, Dave Wils and Will Wright fill out the performing troupe.
The musical features David Lane (music director), Daniel Alvarez (lights), Tara Raczenski (costumes) and Elliott Riches
(stage manager). Desiree Cowan and Yvonne Truhon are handling props. Cheri Van Loon is choreographing dance sequences; Mark Boynton is the fight choreographer.
“To me,” Pirolo said, “what’s beautiful about the show is the message that you have to have dreams in order to have life. As Quixote says, ‘it doesn’t matter if you win or lose. What’s important is the quest.’”
“The whole idea is that it’s madness to see life as it really is,” Gorelick said, “as opposed to as it should be.”
