By CARRIE NEAL
A Seat on the Aisle
There’s something irresistible about a quest. As theatergoers, we love to see characters go on emotional journeys, so when there’s an actual physical journey as well, so much the better.
Man of La Mancha takes this concept to the next level, though, and has the protagonist go on both an emotional and physical journey inside his mind. For those unfamiliar with the story, Cervantes is imprisoned during the Spanish Inquisition and takes his fellow prisoners on an imaginary journey to help everyone forget their circumstances. This story-within-a-story has held an almost universal appeal since the musical’s inception in 1965.
Director Marcia Eppich-Harris is one such individual for whom Man of La Mancha holds special meaning. She saw the show in the Shelton Auditorium as a teenager and was inspired to pursue a life in the arts. In a delightful full-circle moment, her theatre company is able to present what was a watershed production in her life on the very same stage.
And what a stage it is! Before we delve into the meat of the show itself, props simply must be given to the beautiful renovation of the Shelton Auditorium. In addition to lovely new carpeting, the previous agonizingly uncomfortable seating has been reupholstered, and it looks and feels like a dream.
The show gets off to a promising start with a lively, well-played overture led by conductor and music director Seth Young. An impressive four-member horn section plays some truly stirring melodies, and the percussion is notably excellent. (I was particularly taken with the castanets.)
Anthony Nathan as Sancho and Paul Hansen as Don Quixote in a scene from Man of La Mancha. (Photo by Rob Slaven / IndyGhostLight.com)
Man of La Mancha is carried by its three leads, and Eppich-Harris has done a fine job with casting here. Anthony Nathan is a delightful Sancho, jaunty and with just the right kind of piercing tenor voice for the role. He’s a perfect foil for the tragic optimism of Don Quixote. As Aldonza/Dulcinea, Jessica Hawkins is fiery and passionate, with a substantial mezzo voice that’s very well-suited for the role. She’s a perfect fit for this multi-faceted character that’s a dream role for so many.
But the show really belongs to Paul Hansen as Cervantes/Don Quixote. He has the challenging task of creating more than one character, and each of his characters is distinct, truthful, and completely believable. His gorgeous, crystalline singing voice draws us in and holds us captive all evening.
Unfortunately, the strength of the three leads is not matched by the ensemble that supports them. This problem is threefold: first and maybe most significantly, the ensemble just isn’t large enough. Perhaps on a stage smaller than the Shelton, an ensemble of thirteen would be adequate, but they’re swallowed up here. Secondly, there aren’t enough male-presenting actors in the ensemble. This is a real problem during The Abduction, a scene which is supposed to be terrifying but instead falls flat despite the noble efforts of Hawkins as Aldonza. Thirdly, the vocals are lacking. There were several times when the end of a number had obvious wrong notes that were jarring to the ear.
Despite these limitations, there are some strong actors who stand out in the ensemble (most ensemble members play supporting roles as well). Ashton Driscoll and Yolanda Valdivia are spot-on as Antonia and The Housekeeper in “I’m Only Thinking of Him,” and Amalia Howard is striking in her small role as Maria.
Though this production has its strengths and weaknesses, it’s a rarely done passion project that’s definitely worth seeing. Man of La Mancha runs at the Shelton Auditorium on Butler’s campus through March 17. Tickets may be purchased online at southbanktheatre.org, but due to hefty Ticketmaster fees, it is recommended they be purchased at the door.
Read more great play reviews from A Seat on the Aisle at asota.wordpress.com.