BWW Reviews: A Knight of a Night at APA'S MAN OF A LA MANCHA

Everyone is familiar with the story of Don Quixote and Sancho Panza: two men who embark on treacherous journeys and epic quests to battle whatever obstacles may face them; they are valiant in their actions and kindhearted in their deeds and words, making them a most respectable yet worthy foe to any wrongdoer who crosses their paths. In the words of our unyielding hero, his quests are synonymous with who Quixote is as a person, and therefore to fight and "run where the brave dare not go" is imperative if he is to earn his knighthood which, in itself, becomes a battle of sorts of attain. Quixote is a rather errant knight, battling windmills turned giants and perceiving beauty in women who are, to other men, plain filth given to them simply for their pleasure.

What is interesting about Quixote, though, is that he is not a knight at all, but a man soon considered by the masses to be delusional - a complete lunatic to believe that knights are still in existence and can be of some heroic use amongst men when such people seem hopeless causes for which to fight. Yet, what is so beautiful about Miguel de Cervantes' unyielding hero (for that is what he is nonetheless) is that he teaches an incredibly valuable lesson: if one can find beauty in this world, a true hero will fight to attain it, regardless of what mockery may belittle his efforts and what perils may confront him (in whatever form they may come). With this said, the Academy Playhouse's production of Man of La Mancha is a beautiful rendition of a beautiful tale that audiences should flock over to see.

Written by Dale Wasserman, with music and lyrics by Mitch Leigh and Joe Darion and under the directed of Peter Earle (who was also the genius behind APA's most recent production of Sweet Charity), Man of La Mancha is a musical based on Miguel de Cervantes' well-known novel The Ingenious Gentleman Don Quixote de La Mancha and tells the story of a man-turned-knight and his sidekick who seek the company of trouble and then fight valiantly to overcome it and (of course) ultimately triumph. Cervantes is the main character for a time, being introduced as a Renaissance man of sorts who is imprisoned by the Spanish Inquisition; with the help of his fellow captives, their patience and anxiety are given over to the reenactment of Cervantes' tale of Don Quixote and Sancho Panza, each inmate stepping in to become one of the characters of his epic tale.

From Quixote's dream of becoming a knight comes a man who sees what others do not, and through this delusion does he become the inspiration all amongst him didn't realize they needed until he arrives. Being dubbed a knight, meeting the lowly Aldonza, a despondent woman who must sell herself to men and thus becoming increasingly disheartened by life with each coin she takes from their outstretched hands, and finally defying the hopes of those who attempt to rob him of his identity, Man of La Mancha is an insightful look into the heart of a man who is the much needed hero of everyone's story, making this musical an unexpected gem in the heart of Cape Cod.

There is something about the Academy's performances that is difficult to explain, but which makes them all incredible. A majority of the actors in this show have been seen in past productions with the group, and each time they bring their immense talent and energy to the stage; there is something so uniform about what is seen on stage, as though each cast just "clicks" and the result is a noticeably professional show. Man of La Mancha is clearly no different. From the creative team to the actors and the musicians in the pit, this is an absolutely beautiful production that will keep audiences captivated for its entire duration. John Kennedy, who plays the affable Don Quixote, is incredibly fitting for the role and does well to portray our hero as someone everyone can love and admire, but also to whom one could look for guidance and inspiration. Quixote's character is a wonderful mix of gentility and stern nobility, of humor and woe, and Kennedy does well to portray the complexity of his character. He has a strong, booming voice that would send shivers down any enemy's spine, but also one that would do well to assure the rest of us that all will be right in the world.

Terrence Brady as Sancho Panza is equally as amazing, playing a character who must perpetually give credence to his Master's words and deeds, even if doing so deems him a sort of outcast among his fellow man. Brady plays the part of sidekick perfectly, but his character is so admirable because of how loyal he remains to a man who may mistake windmills for giants and inns for castles. What Brady does really well is portray a man who can follow one who perceives beauty and grandeur where there is nothing but mundaneness and simplicity, and it was a pleasure watching him as Quixote's trusty sidekick - touching at times, even, especially when he is asked by Aldonza why he is such a loyal disciple to this supposedly crazed man, and in reply he sings about the inexplicable way he feels about his friend and Master. Brady and Kennedy make a wonderful duo, and the show benefitted greatly from having them cast as they were.

Mimi Robinson (whom I last saw as an impressive Éponine in the Academy's two productions of LES MISERABLES) plays the role of a very conflicted and bitter Aldonza, and her opinion of both the world and herself is consistent and clear throughout the show; she does very well never to break the shield with which she confronts others, and her skepticism towards anything that is not the squalor and depravity she is used to makes her character clearly one who is screaming for help, yet not receiving any. What stands out most about her character, to me, are those rare moments when Aldonza is able to feel something other than malice towards people and their attempts to see beauty in such a disappointing world. For example, when she and Quixote fight the men in the inn in what turns into an-all out brawl, it is the most amazing thing how Robinson, even with a simple smile, allows Aldonza a complete moment of release from the woman she is forced to be day after day; I remember this moment well, as the character transition Robinson pulls off is epic and gives the audience what could otherwise have been a simple moment (this time turned into a glimpse into someone's heart), bypassed in the hubbub in the inn. Not to mention she has a beautiful voice!

Although I cannot mention everyone in the show, the entire cast was amazing and made this show the success that it is. From the Padre (David Otis) to the Duke (Jack Kennedy), the Governor (Tim Burroughs) to Antonia (Chloe Brumfield, who also did wonderfully in Sweet Charity!) and all in the ensemble, Earle truly did a magnificent job casting this show and making sure that everyone involved formed a coherent, unified unit on stage that became the beauty of La Mancha. Watching everyone perform was inspiring, especially since the music is very poignant and quite catchy, and it was really a privilege to make this the first production of this show I have ever seen. Speaking of music, it wouldn't be fair at all not to give mention to those in the pit, as what would a musical be without them? Kevin Quill and Chris Morris on piano were stellar, especially since, during this performance, Quill led the orchestra, and it is safe to say that he is just really great at and noticeably passionate about what he does (even when he is not on stage!). With Donald Sanzo on guitar, Dick Stocks on bass and Andrew McKenzie on percussion, the orchestra did a fabulous job.

Man of La Mancha is a beautifully inspiring show, and I have discovered what a treasure it is because of the Academy's performance of it. So, if you have some time over the next few weeks, go and see this wonderful production! Man of La Mancha began performances at the Academy Playhouse, located at 120 Main Street in Orleans, on July 22nd, and will continue thru August 22nd. Tickets are $26 and may be purchased either at the box office, by visiting www.apacape.org or by calling (508).255.1963. Be sure to catch the Academy's current performance of Beauty and the Beast, Jr. as well, and be on the lookout for upcoming performances of Kevin Quill in An Iliad and Brighton Beach Memoirs; please look online for all show information.

Enjoy the show!

Photo Credit: Michael and Suz Karchmer