Reggie De Leon and Richard Bermudez
Reviewed by Martίn Hernández
Carpenter Center for the Performing Arts
Through March 1
RECOMMENDED
Miguel de Cervantes’ 1600s novel The Ingenious Gentleman Don Quixote of La Mancha inspired many dreamers struggling for a just and humane world. The book inspired Dale Wasserman to pen a 1959 teleplay and later the 1965 musical, with music by Mitch Leigh and lyrics by Joe Darion. A work born of the turbulent 1960s, its theme — fighting for what is right despite overwhelming odds — hits home in our current climate of political and moral turmoil. Under James Vásquez’s vivid direction, Musical Theatre West honors that message with a stirring production anchored by the stellar dramatic and vocal performances from the majority Latinx cast.
Facing heresy charges and possible execution from the Spanish Inquisition in a 16th century prison, author, actor and poet Miguel de Cervantes (a splendid Richard Bermudez) and his Manservant (Reggie De Leon) plead with their fellow prisoners not to steal their modest belongings. The Governor (Berto Fernández), the inmates’ leader, calls for a “trial” to decide the matter and Cervantes is charged with being an idealist — and a bad poet. Cervantes pleads guilty, but is still allowed to defend his idealism, and he does so with a play performed by himself and the other jailbirds.
Donning make-up and costume armor, Cervantes plays Alonso Quijana, an aging and minor nobleman enamored of countless books of chivalry but driven mad by social injustice. The delusional Quijana transforms himself into Don Quixote (a rousing “Man of La Mancha”), a noble knight-errant, and Cervantes’ Manservant joins in as Sancho Panza, a trusted squire. They set off on a madcap quest filled with comic misadventures as Quixote attempts to right the wrongs of the world.
Following a failed battle with a windmill he thought was a monster, Quixote comes to believe that a rundown inn is a castle and its Innkeeper (Fernández) a mighty lord. Quixote imagines the inn’s kitchen maid — and occasional prostitute — Aldonza (an excellent Monika Peña) is his chaste lady Dulcinea (“Dulcinea”). Quixote treats her with utmost respect, seeking nothing in return, which perplexes yet intrigues Aldonza (the bittersweet “What Does He Want Of Me?”) After more questioning, Quixote movingly explains to Aldonza his chivalrous motives (“The Impossible Dream.”)
Bermudez excels with a hardy voice that can lull as well as inspire. Peña is also in fine voice, notably in “Aldonza,” a robust number that chastises Quixote for his false image of Aldonza. Other vocal standouts are Tatiana Monique Alvarez as Antonia, Quijana’s niece, Analίa Romero as the Housekeeper, Rudy Martinez as the Padre, and Louis Pardo as Dr. Sansón Carrasco, Antonia’s fiancé. De Leon offers amiable comic relief as the overworked Sancho and the uncredited performers playing the dancing horse and mule are also a hoot.
Designer Sonia Y. Álvarez’s costumes ably complement this period piece, as do Melanie Cavaness’ and Gretchen Morales’ props. Scenic designer Patric Larson’s multi-leveled set — a dank dungeon —works well for other locales as well, and Paul Black’s lighting plot, whether a starry night sky or a shadowy and foreboding scenes, sets the proper tone.
Musical Theatre West, Carpenter Performing Arts Center, 6200 Atherton St., Long Beach. Thurs.-Sat., 7 pm, Sat., 2 pm, Sun., 1pm and 6 pm, dark Sun., March 1, 6 pm; www.carpenterarts.org Running time two hours and ten minutes with a 15-minute intermission.
