An Authentic 'Man of La Mancha,' Courtesy of Harms, Perkovich and Pullinsi

Onstage now at the Theatre at the Center, a quick drive from Chicago in Munster, Indiana, is a "Man of La Mancha" that is about as authentic an evocation of the legendary 1960s New York staging as you are ever likely to see. Not only is it presented on a unit set on a thrust stage, with an imposing staircase raised and lowered from the ceiling on cue, but it is directed by and stars several legendary Chicago theater professionals who were already working in theater when the musical first opened Off-Broadway in November of 1965, almost 44 years ago.

But have no fear-this is no geriatric, by-the-numbers revival. Witness the quicksilver theatrical magic of actor James Harms (in three simultaneous roles as poet Miguel de Cervantes, country squire Alonso Quijana and knight-errant Don Quixote de la Mancha), and you are in the presence of greatness. Whether you believe he is 40 or 80, and quite possibly every age in between, he will move you, he will break your heart, he will lift up-nay, transform-your spirit. This is a showcase role for a mature musical theater leading man at the height of his powers, and in every way, Harms more than fits the bill. 

This production is directed by the equally legendary William Pullinsi, who directed a fifty-four week run of this show at his southwest suburban Candlelight Dinner Playhouse in 1969-70, during the original production's Broadway transfer (to the Martin Beck, one of the first shows to make such a transfer). It co-stars decades-long character men David Perkovich as the manservant/Sancho Panza and Dennis Kelly as the Governor/Innkeeper. These men bring an unmistakable sense of authentic understanding and trust of the material to this most theatrical of musicals. The younger generation of performers who are learning from these men the combination of showiness and realism this piece requires include Joe Tokarz (wrapping his remarkable tenor voice around the Padre's songs) and Patrick Tierney (whose Barber is delightfully daffy). 

On the female side of things, Audrey Billings sings divinely and dances devilishly as Fermina/Antonia/Moorish Girl, and Ericka Mac more than holds her own as Aldonza/Dulcinea, fighting her way out from under the considerable shadow of original star Joan Diener to bring the right mix of strength and vulnerability, head and chest voice, to this once-uncastable role. She is really quite moving.

Munster stalwarts Larry Adams (looking dashing in a doublet and sounding wonderful to boot as the Duke/Carrasco) and Ann McMann (funny and earthy and elegant as the housekeeper/Maria) round out the supporting leads, and Scott Stratton, Zach Zube, Phil Higgins, Peter Durkin and Peter Vamvakas (along with Tierney) bring manly, lusty danger to their roles as muleteers, gypsies, guards, and, well, everyone else. 

As far as the technical elements go, the set by Ann N. Davis is not much more than a slightly raked platform (plus that staircase) as the prison vault, but it transforms easily and fancifully into an inn, a courtyard, a church, a stable, a road and bedroom, as the requirements of Cervantes' tale of the mad squire unfolds. (Come to think of it, maybe there's a lot to the set after all......hmmm.) Props by Libby Fandrei and great lighting by Denise Karczewski fit with the set hand-in-glove. Costumes by Brenda Winstead find the right balance between grubby 16th century reality and rudimentary 16th century storytelling, and wigs by Kevin Barthel look really, really good. Stacey Flaster's choreography blends beautifully with Pullinsi's direction (though, to be fair, the fight sequences looked a little bit careful), and Matt Meier's sound design is clear and evocative.

Last of all, musical direction by William A. Underwood is thoroughly top drawer, and his keyboards are happily well met in the backstage orchestra by the percussion of Ethan Deppe and the guitar playing of Malcolm Ruhl. As originally written, the show featured a stringless orchestra, and though three players is a wee small for the orchestra of a professional theater company, any additional players would have only produced different sounds, not necessarily better ones.

"Man of La Mancha" is a musical play, and quite a serious, adult one. It was quite revolutionary for its time, in its depiction of violence, Culture Clashes, trust in the better nature of mankind as the Vietnam War unfolded, music that was not the usual Broadway blare, etc. (It has a lyrical song in 7/8 time, followed in just a few minutes by a lyrical song in 5/4 time, for instance.) While perhaps not so revolutionary now, with some admittedly quaint theatrical conventions and song cues, it is a moving piece of work, to be sure. Bookwriter Dale Wasserman, lyricist Joe Darion and, especially, composer Mitch Leigh never attained such heights again, and not without trying. 

If you have never heard the title song (also known as "I, Don Quixote") sung by anyone other than Linda Eder at that 1990s Carnegie Hall concert, or if you love the original cast album (the yellow one), the recent album with Brian Stokes Mitchell and Mary Elizabeth Mastrantonio, or the original Paris cast album starring none other than Jacques Brel (a remarkable listen), then you owe it to yourself to take a trip to Spain, courtesy of Theatre at the Center. This show is a lot more than that one song I haven't mentioned on purpose, thought that is movingly, triumphantly sung here by James Harms. To see what all the fuss was about way back when, and should continue to be for a reasonably infinite period of time, to consider the effects of optimism and goodness and idealism and trust on your own imperfect life and on a crazy, even broken world, buy a ticket to "Man of La Mancha" soon. You will find yourself not only transported, but transformed.

Theatre at the Center is located at The Center for Performing and Visual Arts, 1040 Ridge Road, Munster, Indiana, just 35 minutes from downtown Chicago. Performances ($36-$40) are Wednesdays through Sundays. For more information, call the box office at 219-836-3255 or visit www.TheatreAtTheCenter.com.

Photos:  James Harms; Ericka Mac and Muleteers; James Harms and David Perkovich with Scott Stratton and Zach Zube; James Harms and Dennis Kelly

Photo credit:  Johnny Knight.

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