Monday, August 17, 2009
Theater review: Man of La Mancha
Man of La Mancha is one of the classic Broadway musicals, having premiered in 1965. The original production won five Tony Awards, including Best Musical, which is a lot to live up to for a community theater, even 44 years later.
The company of ONSTAGE in Bedford doesn't seem fazed by that pedigree one bit. ONSTAGE puts on a production that is ideal for the tiny ONSTAGE Trinity Arts Theater, which has just under 100 seats. The classic setting for Man of La Mancha is a one-room dungeon, and set designers Charlotte Newman and Robert Dennard do a great job of utilizing every square inch of the space they have (even tucking away the five-piece “orchestra” just beyond a faux-stone wall on the right side). That set is then packed with 22 cast members, a feat that has to be seen to be believed since only two people leave the stage for any significant length of time.
No big changes have been made to the story, as far as I can tell. Miguel de Cervantes (Tom DeWester) and his manservant (John Garcia) have been thrown into dungeon by the Spanish Inquisition for the crime of ... foreclosing on a monastery. Upon entering the dungeon, their fellow prisoners immediately seize upon a trunk of their possessions and intend to put the duo on a trial of their own. Cervantes, who claims his only crimes are being a poet and an honest man (a statement immediately met with derision), implores them to let him put on a defense.
That defense is actually the tale of Alonso Quijana/Don Quixote de la Mancha, which Cervantes wrote (unbeknownst to the other prisoners). Cervantes proceeds to assume the role of Don Quixote, while his manservant transforms into Sancho Panza, Quixote's squire. It's at this point that a little suspension of disbelief must be heeded, as the entire cast takes on roles in Quixote's quest to become a knight and to win the heart of the woman he calls Dulcinea, but who goes by Aldonza (Emily Antrainer).
Man of La Mancha is probably best known for its two signature songs -- “Man of La Mancha,” which opens the show, and “The Impossible Dream,” which closes the first act (both songs are reprised in the second act). Both require a strong, self-assured singer, and DeWester is more than up to the challenge. Though relatively short in stature, DeWester exudes a big presence, and he makes all of his numbers come alive with his deep, resonant, mellifluous voice. He also has a knack at selling the musical's humorous AND dramatic elements, a combination that's not always easy to pull off.
Speaking of humorous, Garcia was easily the favorite of the opening night crowd (full disclosure: Garcia is a content partner with Pegasus News). He brings a brightness to the role of Manservant/Sancho Panza that not only complements DeWester well, but often upstages him. He garners some of the biggest laughs, especially in songs like “I Like Him” and “Golden Helmet of Mambrino.” Antrainer does a fine job as Aldonza, making her both alluring and someone you wouldn't want to cross. Her singing is a mixed bag, however; all is well when she stays in the lower registers, but she seems to get a bit breathless when she tries to hit the high notes.
The rest of the cast is hit and miss, too. Only a few members are actually featured, such as David Cook (Padre), Phil Nixon (Governor/Innkeeper), and Casey L. Carter (Duke/Dr. Carrasco/Knight of the Mirrors). While the first two acquit themselves well, Carter seems to be the odd man out. His Texas accent overwhelms all of his lines, whether spoken or sung, and the majority seem to lack any kind of dramatic inflection. Considering the level of acting present in other key roles, one wishes for someone who could bring a little more depth to his part.
Credit should also be given to choreographer Darius-Anthony Robinson and Fight Captain Kirk Corely, whose work is fantastic given the limitations of the space. Corely stages several great fight scenes, including a whirling dervish that kicks off the second act that is nearly seamless. In fact, the whole production is more physical than you might think – several actors, including DeWester and Antrainer, are manhandled and knocked to the ground often, but the scenes never miss a beat.
The set design by Newman and Dennard is utilitarian – multiple pieces are repurposed into other things depending on the scene. For instance, fireplace grates are transformed into confessional screens during “I'm Only Thinking of Him,” and a table is used in a variety of ways. The costumes don't stand out in any way, but neither do they detract from the proceedings, so they work in that manner. Of the peripheral elements, only the makeup seems to be lacking. Each actor has black and brown smears all over their bodies to make them appear to be dirty, but it's never truly believable. Of course, bright lights only enhance the makeup, something that's especially noticeable when the farthest seat is only 20 feet away. Short of slapping mud on the actors, it's hard to see how this could have been improved.
ONSTAGE has put together a wonderful production of Man of La Mancha, and seems to be very deserving of their recent award by WFAA/Channel 8 as Best Theatre Group in North Texas.
