or false heads to suggest the steeds the two men are riding, but here all is implied when two dancers (not named) affect high, equine steps. Later, two dif- ferent dancers (also not named) rotate their arms behind a white muslin sheet to mime the blades of the windmills. One of director Waldman’s deci-
sions to clarify the themes ofMan of La Manchamight unsettle some audi- ence members. Because Don Quixote is a persona that imprisoned author Miguel de Cervantes assumes in the play within a play, he is often portrayed as a bit bombastic and full of himself. “The Impossible Dream” can become a baritone showpiece with volume to peel the paint off the walls. Here Walden and Lutken see the character as a bit more fey, if not fatalistic. This time the created character does not shed his author’s awareness of why the dream is indeed impossible. Lutken unmistak- ably has the lungs to blow us away, but his reflectiveness and restraint makes us pay more attention to the words as well as the tricky plot twists. Not that he is ever denied the
chance to let us hear what he has to offer. Part ofMan of La Mancha’s high reputation comes from the demands and the lyricism found throughout the score. It is one of a handful of Broadway musicals, along withWest Side Story, Carousel and Kiss Me Kate, that is regularly performed by opera companies. Lutken’s winning expres- siveness enriches the first act’s “Dulcinea,” joined by Anselmo (Chris Causer), the most
earthier and closer to the ground, this Sancho relies on the idealism of his master. As there are 23 players in 28 roles,
many excellent contributions to the whole must go unremarked. The most haunting of these is the sweetly cynical trio, “I’m Only Thinking of Him,” in which the conniving niece Antonia (Marisa Fratto) and Housekeeper (Jeannie Hines-Clinton) make sure they protect themselves and are joined by a tenor singing counter- point, the Padre (Alan M-L.Wager). In a reprise they are joined by Carrasco (Patrick Oliver Jones), the only musical contribution by a character who imposes on the action elsewhere. Two other solos are written with a uniquely lyrical irony, the high-spirited “Barber’s Song” by John McAvaney, and the taunting “Knight of the Woeful Confidence” by the Innkeeper, played by Jason Simon. Composer Leigh and lyricist Darion
Dancin’ in the dungeon: The Man of La Mancha ensemble during Merry-Go-Round Playhouse’s current production.
musical of the muleteers, along with the chorus of muleteers. These voices are again joined in the ironic “Little Bird, Little Bird,” along with another muleteer, Pedro (Bruce Warren). The two other leads each have two solos.
Aldonza’s “What Does He Want of Me?” in the first act reveals the dismay of an innocent
but indifferent person, not what Quixote wants to hear. Her second-act “Aldonza’s Song” still rattles us, as well as we know the story, call- ing herself “the whore” in affront to Quixote’s idealism. Sancho’s ingratiating “I Really Like Him” carries with it a note of what is now called “co-dependence.” Along with being
worked together on other shows both before and after Man of La Mancha, but you’d have to quest far and wide to find anyone who has ever heard them. Leigh’s only other hit song, if that’s the word for it, is the advertising jin- gle, “Nobody Doesn’t Like Sara Lee.” All their musical treasure is invested
in one show, an impossible dream that still touches the heart.
This production runs through Sept. 18. See Times Table for information.
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Syracuse New Times September 8 - 15, 2010
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