Man of La Mancha

Roaming Bob Peet’s evocative dungeon setting, or sitting disconsolately in a corner in rags and tatters, breaking into the occasional brawl, the ensemble cast of denizens establishes the downcast tone and 16^th century prison atmosphere as the audience enters. This is the world of 1965 Tony Award winning Broadway musical hit Man of La Mancha.

Director Col Peet is thoroughly in tune with the piece, making strong, appropriate choices throughout.

For the uninitiated, awaiting his trial before The Inquisition, poet, itinerant actor and tax collector Miguel de Cervantes enlists the assistance of his fellow inmates to enact the story of his idealistic knight errant, Don Quixote. Unusual among hit musicals for it’s play-within-a—musical form, it spawned the stand alone hit song ‘The Impossible Dream’.

Any single set show really is a winner on the concert hall stage at Sutherland, so complete with matching false proscenium, the design is Bob Peet at his totally functional and splendidly painted best. Completing the picture, I must agree with an overheard foyer comment, declaring Costume Designer James Worner really is extremely good with rags.

Central to the musical, the demanding triple role of poet, dreamer and knight errant is in immensely safe hands dramatically with Christopher Hamilton, who moves seamlessly between Cervantes, Alonso Quijana and Don Quixote, clearly differentiating the roles, and imbuing each with a wonderful air of dignity.

The dual role of Aldonza / Dulcinea calls for a huge vocal range, from a powerful belt, expressing the earthiness of the inn’s kitchen wench, to a ringing soprano, expressing her vulnerability, making Charmaine Gibbs perfect casting.

Andrew Jackaman delights, bringing the perfect degree of warm, cheeky comedy to the role of Sancho Panza, displaying a warm rapport with Christopher.

There’s strong support throughout from the supporting ensemble roles – John Morrison is in marvelous voice as the doddering Padre; Paul Miller is authoritative, yet sympathetic as The Governor and Innkeeper; Andrew Symes’ logical, dogmatic Duke / Dr Carrasco is quite chilling at times, while 17-year-old Misha Williamson sings the role of Quijana’s niece Antonia delightfully.

Placing Musical Director Dean Turner’s excellent orchestra behind the scenes enables sound designer David Betteridge to achieve an excellent balance between musicians and voices throughout, ensuring a quality musical experience.

If there’s a major problem with this show 50 years on, it comes with the rape and abduction of Aldonza by the muleteers. A pre-show announcement alludes to the sensitivity of the scene’s content. Coherently staging this scene with, which now makes everyone tentative, seems just about impossible in the 21^st century. Rough muleteers never really managed to conceal their sensitive new age male.

Extremely faithful to the original concept, Miranda Musical Society has staged a quality production of this classic musical.

Neil Litchfield