Man of La Mancha

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For the 1972 film, see Man of La Mancha (film).
Man of La Mancha
Original Playbill
Music Mitch Leigh
Lyrics Joe Darion
Book Dale Wasserman
Based upon I, Don Quixote (teleplay) by Dale Wasserman and Don Quixote (novel) by Miguel de Cervantes
Productions 1964 Goodspeed Opera House
1965 Broadway
1972 Broadway revival
1972 Film
1977 Broadway revival
1992 Broadway revival
2002 Broadway revival
Awards Tony Award for Best Musical
Tony Award for Best Score


Man of La Mancha is a musical with a book by Dale Wasserman, lyrics by Joe Darion and music by Mitch Leigh. It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes's seventeenth century masterpiece Don Quixote. It tells the story of the "mad" knight, Don Quixote, as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.

The original 1965 Broadway production ran for 2,329 performances and won five Tony Awards, and the musical has been revived numerous times, becoming one of the most enduring works of musical theatre. The song, "The Impossible Dream", became a standard, and the musical is a popular choice for community theatre companies.

The musical was originally written to be performed on a thrust stage.

Contents

[edit] History

Man of La Mancha started its life as a non-musical teleplay written by Dale Wasserman for CBS's Dupont Show of the Month program. This original staging starred Lee J. Cobb. The Dupont Corporation disliked the title Man of La Mancha, thinking that its viewing audience would not know what La Mancha actually meant, so a new title, I, Don Quixote, was chosen. Upon its telecast, the play won much critical acclaim.

Years after this television broadcast, and after the original teleplay had been unsuccessfully optioned as a non-musical Broadway play, director Albert Marre called Wasserman and suggested that he turn his play into a musical. Mitch Leigh was selected as composer and Leigh in turn selected a single gifted orchestrator, Carlyle W. Hall, then employed by the company Leigh founded, Music Makers, Inc. to provide all of the original orchestrations for Leigh's score. Contrary to what has been misstated here, Mr. Leigh did not write the orchestrations under the name of his company Music Makers; rather, it was actually Hall (a composition student of Tibor Serly and Bela Bartok). During the show's most recent Broadway revival in 2002, Mr. Leigh corrected history by reprinting all of the show's playbills and placing the name of Carlyle W. Hall Sr. in place of Music Makers, albeit posthumously for Mr. Hall. The original lyricist of the musical was poet W. H. Auden, but his lyrics were discarded,some of them overtly satiric and biting, attacking the bourgeois audience at times. Auden was replaced by Joe Darion. [1]

[edit] Productions

The musical first played at the Goodspeed Opera House in Connecticut in 1964. Rex Harrison was to be the original star of this production, but the musical demands of the role were heavy for him. After 21 previews, the musical opened at the ANTA Washington Square Theatre in Greenwich Village on November 22, 1965, then moved to Broadway at the Martin Beck Theatre on March 20, 1968, then to the Eden Theatre on March 3, 1971, and finally to the Mark Hellinger Theatre on May 26, 1971 for its last month, a total original New York run of 2,329 performances. Richard Kiley won a Tony Award for his performance as Cervantes/Quixote in the original production, and it made Kiley a bona fide Broadway star.[2] The original cast also included Irving Jacobson (Sancho), Ray Middleton (Innkeeper), Robert Rounseville (The Padre), and Joan Diener (Aldonza). John Cullum, José Ferrer, Hal Holbrook, and Lloyd Bridges also played the roles during the run of the production. The musical was performed on a single set that suggested a dungeon. All changes in location were created by alterations in the lighting, by the use of props supposedly lying around the floor of the dungeon, and by reliance on the audience's imagination. More recent productions, however, have added more scenery.

The original West End London production was at the Piccadilly Theatre, opening on April 24, 1968 and running for 253 performances. Keith Michell starred, with Joan Diener reprising her original role and Bernard Spear as Sancho.

The play has been revived on Broadway four times:

  • 1972 - with Richard Kiley as Cervantes/Quixote, running for 140 performances
  • 1977 - with Richard Kiley as Cervantes/Quixote, Tony Martinez as Sancho Panza and Emily Yancy as Aldonza/Dulcinea, running for 124 performances.
  • 1992 - with Raúl Juliá as Cervantes/Quixote and Sheena Easton as Aldonza/Dulcinea, running for 108 performances.
  • 2002 - with Brian Stokes Mitchell as Cervantes/Quixote, Mary Elizabeth Mastrantonio as Aldonza/Dulcinea, and Ernie Sabella as Sancho Panza, running for 304 performances.

In the 1972 film version, the title role went to Peter O'Toole, James Coco was Sancho, and Sophia Loren was Aldonza.

Robert Goulet played Quixote in the 1997-98 U.S. National Tour.

[edit] Synopsis

It is the late sixteenth century. Failed author-soldier-actor and tax collector Miguel de Cervantes has been thrown into a dungeon by the Spanish Inquisition, along with his manservant. They have been charged with foreclosing on a monastery. The two have brought all their possessions with them into the dungeon. There, they are attacked by their fellow prisoners, who instantly set up a mock trial. If Cervantes is found guilty, he will have to hand over all his possessions. Cervantes agrees to do so, except for a precious manuscript which the prisoners are all too eager to burn. He asks to be allowed to offer a defense, and the defense will be a play, acted out by him and all the prisoners. A big, burly, but good-humored criminal called "The Governor" agrees.

Cervantes takes out a makeup kit from his trunk, and the manservant helps him get into a costume. In a few short moments, Cervantes has transformed himself into Alonso Quijana, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and now believes that he should go forth as a knight-errant. Quijana renames himself Don Quixote de La Mancha, and sets out to find adventures with his "squire", Sancho Panza. They both sing the title song Man of La Mancha (I, Don Quixote).

Don Quixote warns Sancho that the pair are always in danger of being attacked by Quixote's mortal enemy, an evil magician known as the Enchanter. Suddenly he spots a windmill. Seeing its sails whirling, he mistakes it for a four-armed giant, attacks it, and receives a beating from the encounter. He thinks he knows why he has been defeated - it is because he has not been properly dubbed a knight. Looking off, he imagines he sees a castle (it is really a rundown roadside inn). He orders Sancho to announce their arrival by blowing his bugle, and the two proceed to the inn.

In the inn's courtyard, the local wench Aldonza is being propositioned by a group of muleteers. Fending them off sarcastically, (It's All The Same) she eventually chooses Pedro, who pays in advance.

Don Quixote enters with Sancho, upset at not having been "announced" by a "dwarf". The Innkeeper (played by The Governor) treats them sympathetically and humors Don Quixote, but when Quixote catches sight of Aldonza, he believes her to be the lady Dulcinea, to whom he swears eternal loyalty. He sings Dulcinea. Aldonza, used to being roughly handled, is furious at Quixote's strange and kind treatment of her.

Meanwhile, Antonia (Don Quixote's niece) has gone with Quixote's housekeeper to seek advice from the local priest. But the priest wisely realizes that the two women are more concerned with the embarrassment the knight's madness may bring than with his welfare. The three sing I'm Only Thinking of Him.

One of the prisoners, a cynic called "The Duke", is chosen by Cervantes to play Dr. Sanson Carrasco, Antonia's fianceé, a man just as cynical and self-centered as the prisoner who is playing him. Carrasco is upset at the idea of having a madman in his prospective new family, so he and the priest set out to cure Don Quixote and bring him back home.

Back at the inn, Sancho delivers a missive from Don Quixote to Aldonza courting her favor and asking for a token. Aldonza gives Sancho an old dishrag, but to Don Quixote the dishrag is a silken scarf. When Aldonza asks Sancho why he follows Quixote, he sings I Really Like Him. Alone, later, Aldonza sings What Does He Want of Me? In the courtyard, the muleteers once again taunt her with the suggestive song Little Bird, Little Bird.

The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote, who suddenly spots a barber wearing his shaving basin on his head to ward off the sun's heat. (The Barber's Song) Quixote immediately snatches the basin from the barber at sword's point, believing it to be the miraculous Golden Helmet of Mambrino, which will make him invulnerable. Dr. Carrasco and the priest leave, with the priest impressed by Don Quixote's view of life and wondering if curing him is really worth it. (To Each His Dulcinea)

Meanwhile, Quixote asks the Innkeeper to dub him knight. The innkeeper agrees, but first Quixote must stand vigil all night over his armor. Quixote decides to do so in the courtyard, because the "chapel" is "being repaired". As he stands guard, Aldonza, on her way to her rendezvous with Pedro, finally confronts him, but Quixote gently explains why he behaves the way he does (at this point, he sings The Impossible Dream). Pedro enters, furious, and slaps Aldonza. Enraged, Don Quixote takes him and all the other muleteers on in a huge fight. With the help of Aldonza (who now sympathizes with Quixote) and Sancho, the muleteers are all knocked unconscious, as the orchestra plays The Combat. But the noise has awakened the Innkeeper, who enters and kindly tells Quixote that he must leave. However, before he does, the Innkeeper dubs him knight (Knight of the Woeful Countenance).

Quixote then announces he must try to help the muleteers. Aldonza, whom Quixote still calls Dulcinea, is shocked, but after the knight explains that the laws of chivalry demand that he do so, Aldonza agrees to help them. For her efforts, she is beaten, raped, and carried off by the muleteers, who leave the inn. (The Abduction) Quixote, in his small room, is blissfully ruminating over his recent victory and the new title that the innkeeper has given him - and completely unaware of what has just happened to Aldonza. (The Impossible Dream - first reprise)

At this point, the Don Quixote play is brutally interrupted when the Inquisition enters the dungeon and drags off an unwilling prisoner to be tried. The Duke taunts Cervantes for his look of fear, and accuses him of not facing reality. This prompts a passionate defense of idealism by Cervantes.

The Don Quixote play resumes (Man of La Mancha - first reprise). He and Sancho have left the inn and encounter a band of Gypsies ("Moorish Dance") who take advantage of Quixote's naivete and proceed to steal everything they own, including Quixote's horse Rocinante and Sancho's donkey Dapple. The two are forced to return to the inn, where the Innkeeper tries to keep them out, but finally cannot resist letting them back in out of pity.[3] Aldonza shows up with several bruises. Quixote swears to avenge her, but she angrily tells him off, begging him to leave her alone (Aldonza). Suddenly, another knight enters. He announces himself as Don Quixote's mortal enemy, the Enchanter, this time appearing as the "Knight of the Mirrors". He insults Aldonza, and is promptly challenged to combat by Don Quixote. The Knight of the Mirrors and his attendants bear huge shields with mirrors on them, and as they swing them at Quixote (Knight of the Mirrors) the glare from the sunlight blinds him. The attacking Knight taunts him, forcing him to see himself as the world sees him - a fool and a madman. Don Quixote collapses, weeping. The Knight of the Mirrors removes his own helmet - he is really Dr. Carrasco, returned with his latest plan to cure Quixote.

Cervantes announces that the story is finished at least as far as he has written it, but the prisoners are dissatisfied with the ending. They prepare to burn his manuscript, when he asks for the chance to present one last scene.

The Governor agrees, and we are now in Don Quixote's bedroom, where he has fallen into a coma. Antonia, Sancho, the Housekeeper, the priest, and Carrasco are all there. Sancho tries to cheer up Quixote (A Little Gossip). Don Quixote eventually awakens, and when questioned, reveals that he is now sane, remembering his knightly career as only a vague dream. He realizes that he is now dying, and asks the priest to help him make out his will. As Quixote begins to dictate, Aldonza forces her way in. She has come to visit Quixote because she has found that she can no longer bear to be anyone but Dulcinea. When he does not recognize her, she sings Dulcinea (reprise) to him and tries to help him remember the words of "The Impossible Dream". Suddenly, he remembers everything and rises from his bed, calling for his armor and sword so that he may set out again. (Man of La Mancha -second reprise) But it is too late - in mid-song, he suddenly groans and falls dead. The priest sings The Psalm for the dead. However, Aldonza now believes in him so fiercely that, to her, Don Quixote will always live. When Sancho calls her by name, she asks him to call her Dulcinea.

The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript. It is, of course, his (as yet) unfinished novel, Don Quixote de la Mancha. As Cervantes and his servant mount the drawbridge-like staircase to go to their impending trial, the prisoners (except for the Duke) sing The Impossible Dream in chorus.

[edit] Musical Numbers

  • Overture
  • Man of La Mancha (I, Don Quixote)
  • It's All the Same
  • Dulcinea
  • I'm Only Thinking of Him
  • I Really Like Him
  • What Do You Want of Me?
  • Little Bird, Little Bird
  • Golden Helmet of Mambrino
  • To Each His Dulcinea
  • The Impossible Dream
  • The Combat (instrumental)
  • Knight of the Woeful Countenance
  • Little Bird, Little Bird (reprise), leading into an instrumental entitled The Abduction
  • The Impossible Dream (first reprise)
  • Man of La Mancha (first reprise)
  • Moorish Dance (instrumental)
  • Aldonza
  • Knight of the Mirrors (choreographed instrumental sequence)
  • A Little Gossip
  • Dulcinea (reprise) / The Impossible Dream (reprise) / Man of La Mancha (reprise) / The Psalm
  • Finale Ultimo: The Impossible Dream (reprise)

[edit] Adaptations

[edit] Trivia

 Trivia sections are discouraged under Wikipedia guidelines.
The article could be improved by integrating relevant items and removing inappropriate ones.
  • Scenes from the musical are featured in the sci-fi TV series Quantum Leap. The episode "Catch A Falling Star", has Dr Sam Beckett (Scott Bakula, who has considerable experience in musicals) leaping into the body of an understudy who falls in love with the girl playing Dulcinea, saves the life of the drunk Luvvie (John Cullum, who played Quixote on Broadway) to whom he is an understudy and, of course, eventually plays the lead role.
  • Oddly enough, Ernie Sabella appeared in the Quantum Leap episode listed above as Manny, the actor portraying Sancho Panza. Sabella would reprise the role of Sancho (in a way) in the 2002 run of the Broadway stage play.
  • While the musical is technically in one act, there is usually an intermission between "To Each His Dulcinea" and "The Impossible Dream" in modern productions.

[edit] Awards and nominations

1966 Tony Award nominations

1978 Drama Desk Award nomination for Outstanding Actor in a Musical - Richard Kiley

2003 Tony Award nominations
2003 Drama Desk Award nominations
  • Outstanding Revival of a Musical - Produced by David Stone, Jon B. Platt, Susan Quint Gallin, Sandy Gallin, Seth M. Siegel, USA OSTAR Theatricals; Produced in association with Mary Lu Roffe
  • Outstanding Actor in a Musical - Brian Stokes Mitchell

[edit] Notes

  1. ^ www.Broadway.tv article "Broadway Hidden Treasures Revealed"
  2. ^ NC Theatre study guide for the musical
  3. ^ This scene is omitted in some productions

[edit] References

[edit] External links

Wikiquote has a collection of quotations related to:
Awards
Preceded by
Fiddler on the Roof
by Jerry Bock and Sheldon Harnick		 Tony Award for Best Composer and Lyricist
1965
by Mitch Leigh and Joe Darion		 Succeeded by
Cabaret
by John Kander and Fred Ebb
v • d • e
Tony Award for Best Musical

Kiss Me, Kate (1949) · South Pacific (1950) · Guys and Dolls (1951) · The King and I (1952) · Wonderful Town (1953) · Kismet (1954) · The Pajama Game (1955) · Damn Yankees (1956) · My Fair Lady (1957) · The Music Man (1958) · Redhead (1959) · The Sound of Music / Fiorello! (1960) · Bye Bye Birdie (1961) · How to Succeed in Business Without Really Trying (1962) · A Funny Thing Happened on the Way to the Forum (1963) · Hello, Dolly! (1964) · Fiddler on the Roof (1965) · Man of La Mancha (1966) · Cabaret (1967) · Hallelujah, Baby! (1968) · 1776 (1969) · Company (1971) · Two Gentlemen of Verona (1972) · A Little Night Music (1973) · Raisin (1974) · The Wiz (1975)