Pittsburgh Public Theater scores big with 'La Mancha'

By Alice T. Carter
TRIBUNE-REVIEW THEATER CRITIC
Saturday, February 8, 2003

Is Don Quixote the wisest of madmen or the maddest of wisemen?

Is there anyone who doesn't already know the answer?

As its original creator Miguel de Cervantes argued in his 1605 novel "Don Quixote," "Man of La Mancha" playwright Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion also believe that too much sanity might be madness.

Most know it as the source of its stirring ballad "The Impossible Dream," that even 38 years after its Broadway debut still issues from elevator and grocery store sound systems.

Those interested in hearing it sung in context should hasten to the O'Reilly Theater where its being performed in a thoroughly well-sung production by a combined cast of New York and Pittsburgh-area professionals.

This highly theatrical piece, set in Spain at the end of the 16th century, begins in a prison in Seville then travels beyond those dark, oppressive, moisture-stained walls to destinations that live in Cervantes' imagination.

Its begins with Cervantes' imprisonment for attempting to collect taxes from a monastery — an unbelievably incautious act during the Inquisition. When the prisoners threaten to destroy his manuscript of "Don Quixote," he attempts to convince them of its worth by telling them the story.

Cervantes transforms himself into Don Quixote with a quick application of makeup and facial hair, employs his servant to enact Sancho Panza and recruits male and female prisoners to play the characters they encounter on their quest.

The Broadway production and successive national tours that followed left such indelible impressions and images in the minds of so many theater practitioners that it's not surprising that almost four decades later, echoes of those original scenic elements and staging remain.

Scenic designer James Noone re-creates the original production's signature staircase that lowers itself with a deliberate air of menace into the common room of the dungeon-like prison. He incorporates some nice visual touches in concert with Kirk Bookman's lighting, such as the water-stained wall that transforms itself into distant star-lighted hills.

"Man of La Mancha" requires its director and choreographer to balance the musical's storytelling theatricality with the audience and character's need to absorb themselves in the reality of the story itself. It's important to see the cruelty of the muleteers, the drudgery of Aldonza's life and the greedy scheming of Quixote's family while simultaneously buying into the fantasy world of knights, fair ladies, windmills and ogres that the Knight of the Woeful Countenance envisions.

Director and choreographer Ted Pappas strikes that balance, moving the story through moments of high comedy and deep despair in 110 intermissionless minutes.

It only falters during the artificially stylized combat scenes that lack danger or daring and end up being neither a ballet nor a battle. There's more menace in the Muleteers singing of "Little Bird, Little Bird" than in the abuse they inflict on Aldonza.

Pappas has chosen a first-class cast beginning with Brian Sutherland and Tari Kelly, who bring full, strong — and in Kelly's case, operatic — voices to their roles of Cervantes/Quixote and Aldonza, the kitchen wench he envisions as his virginal lady.

Avery Saltzman shines as the awkward, squinting, not-too-bright, but ever-cheerful, good-natured and accepting Manservant to Cervantes and Quixote's Sancho Panza.

In smaller roles, Jeff Howell acquits himself nicely as the Innkeeper saddled with a delusional patron who sees Howell as the lord of a castle. He rises to the occasion in his dubbing ceremony solo "Knight of the Woeful Countenance." Daniel Krell creates a strong presence as the self-interested Dr. Carrasco as does Terry Wickline as Maria, the Innkeeper's Wife.

Possibly the hero of the production is its musical director, F. Wade Russo, who, with the cooperation and efforts of his cast and orchestra, wrings every drop of emotion and musicality possible from Leigh and Darion's dynamic score.

The Pittsburgh Public Theater production of "Man of La Mancha" continues through March 2 at the O'Reilly Theater, 921 Penn Ave., Downtown. Performances: 8 p.m. Tuesdays through Saturdays; 2 p.m. Sundays, Feb. 15, 22, 27 and March 1 and 7 p.m. Sundays and Feb. 12 and 25. Tickets: $ 29-$53. $12 for full-time students or those younger than 26 with a valid ID in advance for all performances, these discounts are available Friday and Saturday evenings at the door from one hour before curtain. Details: (412) 316-1600.

Alice T. Carter can be reached at acarter@tribweb.com or (412) 320-7808.