Man of La Mancha

Reviewed by Dana Martin
A Noise Within
Through September 9

A Noise Within dares to dream the impossible dream. Again. A remount of a successful 2017 run directed by Julia Rodriguez-Elliott, the current incarnation of Man of La Mancha is ambitious, though it lacks depth and passion.

Miguel de Cervantes (Geoff Elliott) has sinned against the church (an easy feat as a tax collector). He and his manservant (Kasey Mahaffy) have been thrown in jail where they await trial (Spanish Inquisition-style). When he’s attacked by his fellow inmates who steal his belongings, he refuses to relinquish one item — his unfinished manuscript recounting the tale of gallant knight Don Quixote. The prisoners arrange a trial of sorts and he offers to act out the story for his fellow prisoners (he also happens to be an actor). They agree, and he dives into a world of make-believe where his valiant alter-ego rights all wrongs and defeats all evil. The other prisoners begin to embody their characters and their hopelessness fades as the world around them is transformed.

This version of Man of La Mancha is certainly a visual spectacle. Set designer Fred Kinney creates a space devoid of warmth or comfort, with intimidatingly high walls that are cold and industrial feeling. Cervantes descends from the ceiling at the top of the show, furthering the idea that we’re at the bottom of a deep, dark, institutional hole.

Director Julia Rodriguez-Elliott pares the play down to an intermission-less, two hours — a time-frame generally more befitting a modern audience. It almost works. Unfortunately, the show’s pace is largely sacrificed. There’s a constant drive forward at full speed and the play never properly settles; it needs more breathing room. The story’s slower; more tender moments are lost, and therefore the poignancy of the musical’s message is muddled.

Geoff Elliott’s Quixote is laidback and lacking passion. He’s enjoyable enough and his vocals are pleasant, but he never seems to dig deep emotionally; he risks nothing and therefore his characters risk nothing. His Cervantes appears resigned, his Quijana lackadaisical and his Quixote is more like the village idiot than the Knight of the Sorrowful Countenance. Kasey Mahaffy’s Sancho Panza is earnest but lacks authenticity. He struggles to reach his top notes which creates a lot of residual physical tension. In the role of Aldonza, Cassandra Marie Murphy’s vocals are a dream, though she’s not given the space or the time to explore the extreme emotional peaks and valleys of the character’s journey — the pace is simply too fast. Standout soloists include Jordan Goodsell as Anselmo and Jeremy Rabb as Padre.

Costume designer Angela Balogh Calin takes liberty with standard issue prison uniforms, creating a strange sense of autonomy among the prisoners. Ken Booth’s lighting design is dramatic and exciting. Music direction by Dr. Melissa Sky-Eagle is well-blended; the orchestra is tight and precise under her guidance. Stage manager Samantha Sintef keeps tight command of the musical’s many moving parts.

Man of La Mancha is an epic story: it dares to battle the harsh hopelessness of captivity through the fantasy of gallant knights, fair maidens, and daring quests. The delight of the story is Quixote’s childlike wonder, even when faced by seemingly insurmountable circumstances. He has the audacity of faith. He dreams the impossible dream. A Noise Within’s current incarnation of Man of La Mancha is dark and ambitious. The company strives to see life as it is, not as it should be — a noble quest indeed.

A Noise Within, 3352 E. Foothill Blvd., Pasadena; Thurs., 7:30 p.m.; Fri., 8 p.m.; Sat., 2 p.m. & 8 p.m.; Sun., 2 p.m.; through Sep. 9. (626) 356-3121 or anoisewithin.org. Running time: two hours with no intermission.