N.C. Theatre makes 'La Mancha' possible

RALEIGH -- 'The Impossible Dream," the hit song from "Man of La Mancha," could easily describe the musical's creation in 1965. Who would have thought a Broadway show could be fashioned from the renowned novel "Don Quixote," or that such deeply philosophical themes would hold an audience?

N.C. Theatre's fine production show why, against all odds, it worked. The talented cast, the impressive technical components, and a director who respects the material make it plain that this musical deserves top ranking.

Ira David Wood III returns for his third once-a-decade performance as the company's "La Mancha" star. It's a dual role of failed poet-playwright Miguel de Cervantes and Don Quixote, the character Cervantes plays in a prison performance as he awaits the Spanish Inquisition.

Wood is especially adept at separating the roles by using two distinct voices and manners. He makes Quixote lovable in his foolishly sincere quests and moving in his utter focus on only the good in all people.

Saturday's opening found him still getting lines and staging in place. Wood seems pushed to his limits vocally, but he cleverly turns any momentary falterings into the character's. And he saves up his vocal currency for a fully satisfying "Impossible Dream."

Aldonza, the hardened serving wench whom Quixote sees as his virginal lady Dulcinea, requires Broadway belting with an operatic range. Mary Gutzi comes close to ideal, bitterly flinging out "It's All the Same" and filling "Aldonza" with searing rage. She gamely enacts all the physical requirements (including the intense rape scene), lacking only a sense of full abandonment the part needs.

Sam Reni has the perfect diminutive stature and droll stance for Quixote's faithful companion, Sancho Panza. Reni, his voice humorously whiny, nicely underplays moments that invite caricature, though more animation in general would help the pace.

The rest of the cast is extremely strong. Brian Norris' Padre gives sweet lyricism to the show-stopping "To Each His Dulcinea" and a comic weariness to "I'm Only Thinking of Him," aided by Haley Swindal's Antonia, Margaret Webb's Housekeeper and Stuart Marland's Dr. Carrasco, all household characters.

Director-choreographer Sam Viverito uses the massive, multilevel prison set to make clear distinctions between the segments with Cervantes and those with Quixote. He gets distinctive characterizations from the smallest parts. Only some clichéd growling from guards and villains could stand adjusting.

Completing the imaginative visuals are John Bartenstein's dramatic, shaft-filled lighting and Costume World Theatrical's appropriately rich or ragged costumes, especially the knight's armor for Quixote and his nemesis, the Enchanter. David Andrews Rogers inspires his orchestra to soaring heights, trumpets and guitars setting the story's moods.

Saturday's opening had some halting pacing that should clear up by this week's performances. Nevertheless, the opening-night audience was one of the quietest, most intensely involved of any observed at an N.C. Theatre performance. Credit a literate and uplifting script, belying the notion that today's audiences clamor only for musicals that recycle hit movies or songs from classic pop groups.