Cary Rice says:

“Too much sanity may be madness–and maddest of all–to see life as it is, and not as it should be.”–Don Quixote, Man of La Mancha

This year’s critics may suffer from the illness of sanity in the quote. Many appear to have made up their minds before entering the Avon Theatre, categorizing “Man of La Mancha” as a castoff relic of the 1960s and referring to it as overly sentimental. Just as Cervantes/Don Quixote freely confesses his own “guilt” at the start, the play is certainly guilty on both counts, but when did either become an irredeemable crime for critics?

While imprisoned and on unofficial trial by fellow Inquisition prisoners with his literary manuscript at stake, poet Miguel de Cervantes invites us to enter his world of imagination, the realm of errant knight Don Quixote and his faithful manservant Sancho Panza, a place where he promises “amazing things” will be experienced.

Admittedly, if poorly executed, the production would be a maudlin mess. Because I too often agree with the critics, I went in with low expectations and was surprised, even shocked, at times by the high level of skill on display. It may not reach the heights of last year’s “Fiddler on the Roof” or the spectacle of this year’s “Crazy in Love,” but it is solid entertainment, emotionally engaging the audience with its universal theme. The costumes and props are appropriately detailed to fit the time period and the set design allows for a variety of staging/combat scenes with a staircase that raises/lowers to emphasize the dungeon setting escaped only by freedom of thought.

When Cervantes quickly transforms into Don Quixote center stage, I am intrigued. When Quixote greets Aldonza as the pure Dulcinea, I want her to recognize her worth. When Sancho shares with her that he sticks by him because “I like him,” I nod in agreement. When Tenorio undermines the beauty of “Little Bird,” I am disgusted. When Don Quixote sees a golden helmet in place of a wash basin and accepts the title Knight of the Woeful Countenance with honor, I am simultaneously amused and humbled. When he encounters the Knight of the Mirrors, I hurt but refuse to surrender. When Sancho and Dulcinea’s belief in him resurrects his own “Impossible Dream,” I mouth the words in unison.

Tom Rooney’s performance is often understated, a choice I appreciated in order to recognize his dream to be that of a real man, not a windmill-charging caricature. Steve Ross was, not surprisingly, a wonderful sidekick. I believe he will continue to discover bits of stage business to entertain while not still respecting character and his relationship with Don Quixote. He may choose to pause with doubt when considering the “friends and strangers” surrounding them in prison or do a double-take by pretending to read the missive before admitting he had to memorize it. However, the biggest surprise was Stratford veteran Monique Lund, the understudy for Robin Hutton and the absent Chilina Kennedy. Lund’s Aldonza/Dulcinea encompassed her self-doubt, distrust, longing, and underlying strength. Her voice matched the emotional intensity of the music, including a memorable pause, “What does he want…of me?”

Perhaps having one’s “mind pushed to the edge” instead of accepting daily reality is a requirement for adding “a measure of grace to this world,” Don Quixote’s stated purpose when questioned by Aldonza/Dulcinea. What normal-acting person has affected positive and lasting change in the world? Aren’t most world changers accused of being unrealistic, an issue addressed, not avoided in the musical? As the program notes state, “No amount of postmodern irony and cynicism can completely dry up the basic human need to hope and to dream.” Give it a break, critics. Like the audience who gave it a full standing ovation at the end of tonight’s performance, I choose to stick with the dreamers willing to change reality.

Rating: 4 out of 5 stars, 8/10

Neil Hawkins says:

May 22, 2015 at 3:41 am

Man of La Mancha.

Wonderful set and staging, and amazing singing. This story is actually a story, within a story, within a story … and maybe one additional layer. I was not really expecting that when I sat down in the seat, but this is a pretty creative way to put forward Cervantes acclaimed novel, Don Quixote. Even the Spanish Inquisition is tossed in for good measure. The story deals with a man / men who want to turn back time on the evil of the day, and bring back chivalry and courageous behavior. It is also a tale of mental illness, and delusions that can take over a person’s mind … very vividly, and in this case, across several story lines. “The Impossible Deam” remains a very moving song, and that was true in this production as well. But there are many excellent songs here, including a couple that border on opera in style and performance. Worth seeing.

The American Conservative - Noah Millman

Meh. It's a product of the 60s

“I resist, in general, the tired conservative complaint that the ’60s ruined everything. Except in one area: the great American musical. From Hello, Dolly! to Hair, it’s a parade of false, manipulative, overwrought sentiment… I never experienced the delight that Sancho or the Innkeeper clearly feel in being charmed by the mad knight, and never saw the world as Quixote sees it.”

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The National Post - Robert Cushman

Rooney's a wonderful reason to see...

“as Don Quixote [Tom Ronney] is sublime: gaunt and courteous and pitiful and inspiring. In fact he’s the Quixote of the book, reinstated in the teeth of the adaptation…”

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The Bard and the Boards - Robyn Godfrey

Ross' Sancho Panza hilarious

“[Steve Ross] plays the part with an inarticulate – and hilarious – dry pragmatism, alternating between enthusiasm for and frustration with his master (never more evident than in “I Like Him”), be it Cervantes or Don Quixote…Spanish flair in the score…it is hard not to sway to the Latin rhythms, or not to feel moved at play’s end.”

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Broadway World - Lauren Gienow

Robin Hutton finds character`s inner...

“Robin Hutton makes [lady Dulcinea]…honest and believable. The level of physical and vocal athleticism that is required for this role must be a daunting task. Props to Ms. Hutton for delivering! It is also impressive that she does not shy away from portraying Aldonza’s rough edges, sometimes singing lines with the exasperation and ferocity that the character is feeling in the moment.”

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Charlebois Post - Stuart Munro

Sean Hauk rises to the occasion

“As the Padre, Sean Hauk is able to turn a secondary role into a star turn. He is warm and charming, and his smooth voice seems especially suited for “To Each His Dulcinea.” A scene was always stronger for having him in it. Less strong was Robin Hutton’s Aldonza, the object of Quixote’s misguided affections. Ms Hutton plays almost every scene at the same level (that is to say loud and intense) and her energy is always forced“

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The Globe and Mail - J. Kelly Nestruck

Maudlin musical

“I’m now more convinced than ever that it is an overly sentimental artifact of the sixties with one good take-away tune.

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Donald's Dish - Geoff Dale

A valiant knight-errant, noble...

“Rooney, a strong vocalist with a keen understanding of the character, deals nicely with the duality of the man – real and imagined. It’s a tight-rope walk that he pulls off with nary a slip. Consider once again the challenge involved.”

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The Record - Robert Reid

Lacks direction

“In the absence of a synthesizing directorial vision, Tom Rooney, a gifted actor who can sing, flounders as Cervantes/Don Quixote, at least until the end when Don Quixote dies while holding onto his dream. The scene is appropriately touching.”

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