Man of La Mancha is a 1965 musical with a book by Dale Wasserman, music by Mitch Leigh, and lyrics by Joe Darion. It is adapted from Wasserman's non-musical 1959 teleplayI, Don Quixote, which was in turn inspired by Miguel de Cervantes and his 17th-century novel 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.[1] The work is not and does not pretend to be a faithful rendition of either Cervantes' life or Don Quixote. Wasserman complained repeatedly about people taking the work as a musical version of Don Quixote.[2][3]
The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre.[4]
"The Impossible Dream", the principal song in the show, became a standard. The musical has played in many other countries around the world, with productions in Dutch, French (translation by Jacques Brel), German, Hebrew, Irish, Estonian, Japanese, Korean, Bengali, Gujarati, Uzbek, Bulgarian, Hungarian, Serbian, Slovenian, Swahili, Finnish, Chinese, Ukrainian, Turkish, and nine distinct dialects of the Spanish language.[5]
Man of La Mancha started as a non-musical teleplay written by Dale Wasserman for CBS's DuPont Show of the Month program. This original telecast starred Lee J. Cobb, Colleen Dewhurst (who replaced Viveca Lindfors), and Eli Wallach and was performed on a television sound stage. 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. The play was broadcast live on November 9, 1959, with an estimated audience of 20 million.[7] The New York Public Library at Lincoln Center, Billy Rose Collection, has a rare tape of this broadcast.
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, with orchestrations by Carlyle W. Hall. Unusually for the time, this show was scored for an orchestra with no violins or other traditional orchestral stringed instruments apart from a double bass, instead making heavier use of brass, woodwinds, percussion and utilizing flamenco guitars as the only stringed instruments of any sort.[8]
The original lyricist of the musical was poet W. H. Auden, but his lyrics were discarded, some of them considered too overtly satiric and biting, attacking the bourgeois audience at times. Auden's lyrics were replaced by those of Joe Darion.[9]
Productions
The musical first played at the Goodspeed Opera House in Connecticut in 1965.[10]Rex Harrison was to be the original star of this production, but although Harrison had starred in a musical role in the stage and film versions of My Fair Lady, the musical demands of the role of Don Quixote were too heavy for him. Richard Kiley instead became Don Quixote.
After 22 previews, the musical opened off-Broadway at the experimental thrust-stageANTA Washington Square Theatre in Greenwich Village on November 22, 1965. The show moved to Broadway to 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 Broadway run of 2,328 performances. Musical staging and direction were by Albert Marre, choreography was by Jack Cole, and Howard Bay was the scenic and lighting designer, with costumes by Bay and Patton Campbell.[4]
Richard Kiley won a Tony Award for his performance as Cervantes/Quixote in the original production, and it made Kiley a bona fides Broadway star.[11] Kiley was replaced in the original Broadway run by first Jose Ferrer on Broadway and in the 1966 National Tour, and then by operatic baritone David Atkinson. Atkinson also performed Cervantes/Quixote in the 1968 National Tour and for all of the matinee performances in the 1972 Broadway revival, which also starred Kiley.[12]
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.[13][14]
The play has been revived on Broadway four times:[4]
1972 – with 3 of the original actors from
the original 1965 cast: Richard Kiley as Cervantes/Quixote, Irving Jacobson as Sancho Panza and Joan Diener as Aldonza/Dulcinea, 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 Raul Julia as Cervantes/Quixote and Sheena Easton as Aldonza/Dulcinea, running for 108 performances. Easton was replaced late in the run by the original Dulcinea, Joan Diener.
In 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. Their fellow prisoners attack them, eager to steal the contents of the large trunk Cervantes has brought with him. However, a sympathetic criminal known as "the Governor" suggests setting up a mock trial instead. Only if Cervantes is found guilty will he have to hand over his possessions. A cynical prisoner, known as "the Duke," charges Cervantes with being an idealist and a bad poet. Cervantes pleads guilty, but then asks if he may offer a defense, in the form of a play, acted out by him and all the prisoners. The "Governor" agrees.
Cervantes takes out a makeup kit and costume from his trunk, and transforms himself into Alonso Quijano, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and set out as a knight-errant. Quijano renames himself Don Quixote de La Mancha, and goes off to find adventures with his "squire", Sancho Panza. ("Man of La Mancha (I, Don Quixote)")
Don Quixote warns Sancho that they are always in danger of being attacked by Quixote's mortal enemy, an evil magician known as the Enchanter. Suddenly he spots a windmill, mistakes it for a four-armed giant, attacks it, and receives a beating from the encounter. Quixote decides that he lost the battle because he was never properly knighted. He then mistakes a rundown inn for a castle and orders Sancho to announce their arrival by blowing his bugle.
Cervantes talks some prisoners into assuming the roles of the inn's serving wench and part-time prostitute Aldonza, and a group of muleteers who are propositioning her. Aldonza fends them off sarcastically ("It's All The Same"), but eventually deigns to accept their leader, Pedro, who pays in advance.
Don Quixote enters with Sancho, asking for the lord of the castle. The Innkeeper (played by The Governor) humors Don Quixote as best he can. Quixote sees Aldonza and declares that she is his lady, Dulcinea, to whom he has sworn eternal loyalty ("Dulcinea"). Aldonza, used to rough treatment, is first flabbergasted and then annoyed at Quixote's kindness, and is further aggravated when the Muleteers turn Quixote's tender ballad into a mocking serenade.
Meanwhile, Antonia, Don Quixote's niece, has gone with Quixote's housekeeper to seek advice from the local priest, who realizes that the two women are more concerned with the embarrassment Quixote's madness may bring them than with his actual welfare ("I'm Only Thinking of Him").
Cervantes chooses "the Duke" to play Dr. Sanson Carrasco, Antonia's fiancé, a man just as cynical and self-centered as the prisoner who is playing him. Carrasco is upset at the idea of marrying into the family of a madman, but the priest convinces Carrasco that it would be a worthy challenge to use his abilities to cure his prospective uncle-in-law. Carrasco and the priest set out to bring Don Quixote back home ("I'm Only Thinking of Him [Reprise]").
Back at the inn, Sancho delivers a missive from Don Quixote to Aldonza courting her favor and asking for a token of her esteem. Aldonza provides the requested token: an old dishrag. She asks Sancho why he follows Quixote, but he can come up with no explanation other than "I Really Like Him". Alone, Aldonza ponders Quixote's behavior and her inability to laugh at him ("What Do You Want of Me?"). In the courtyard, the muleteers once again taunt Aldonza with a suggestive song ("Little Bird, Little Bird"). Pedro makes arrangements with her for an assignation later.
The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote. Quixote becomes distracted by a barber who passes by the inn, wearing his shaving basin on his head to ward off the sun's heat ("The Barber's Song"). Quixote threatens the barber with a sword and snatches the basin, declaring it is the "Golden Helmet of Mambrino", which makes its wearer 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 worthwhile ("To Each His Dulcinea").
Quixote still wishes to be officially dubbed a knight: he plans to stand vigil all night over his armor in the inn's courtyard, and then have the Innkeeper (whom he mistakes for a nobleman) grant him knighthood the following morning. Aldonza encounters Quixote in the courtyard and confronts him; Quixote does his best to explain the ideals he follows and the quest he is on ("The Impossible Dream"). Pedro enters, furious at being kept waiting, and slaps Aldonza. Enraged, Don Quixote takes him and all the other muleteers on in a fight ("The Combat"). Don Quixote has no martial skill, but by luck and determination – and with the help of Aldonza and Sancho – he prevails, and the muleteers are all knocked unconscious. But the noise attracts the attention of the Innkeeper, who tells Quixote that he must leave. Quixote apologizes for the trouble but reminds the Innkeeper of his promise to dub him knight. The Innkeeper does so ("Knight of the Woeful Countenance").
Quixote then declares that he must comfort the wounded muleteers, because chivalry requires kindness to one's enemies. Aldonza, impressed, says that she will help the muleteers instead. But when she comes to them with bandages, they beat her, rape her, and carry her off ("The Abduction"). Quixote, unaware of this, contemplates his recent victory and new knighthood ("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 Cervantes to passionately defend his idealism.
The Don Quixote play resumes ("Man of La Mancha" – first reprise). Quixote and Sancho have left the inn and encounter a band of Gypsies ("Moorish Dance") who take advantage of Quixote's naiveté and steal everything they own, including Quixote's horse Rocinante and Sancho's donkey Dapple.[25] Quixote and Sancho are forced to return to the inn. Aldonza also shows up at the inn, bruised and ashamed. Quixote swears to avenge her, but she tells him off, flinging her real, pitiful history in his face and blaming him for allowing her a glimpse of a life she can never have. She begs him to see her as she really is but Quixote can only see her as his Dulcinea ("Aldonza").
Suddenly, another knight enters. He announces himself as Don Quixote's mortal enemy, the Enchanter, in the form of the "Knight of the Mirrors". He insults Aldonza, so Quixote challenges him to combat. The Knight of the Mirrors and his attendants bear huge mirrored shields, and as they swing them at Quixote ("Knight of the Mirrors"), the glare blinds him. The Knight taunts Quixote, 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 helmet – he is really Dr. Carrasco, returned with his latest plan to cure Quixote.
Cervantes announces that the story is finished, 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.
Quixote is back at home, and has fallen into a coma. Sancho tries to cheer him up ("A Little Gossip"), and Alonso opens his eyes. He is now sane: he gives his name as Alonso Quijano and thinks his knightly career was just a dream. However, he feels close to death, and asks the priest to help him make out his will. Aldonza suddenly forces her way into the room. She has come to visit Quixote because she can no longer bear to be anyone but Dulcinea. When he does not recognize her, she sings a reprise of "Dulcinea" 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 cries out and falls dead. The priest sings "The Psalm" (Psalm 130 in Latin) for the dead. Sancho is distraught at his friend's death. Aldonza tries to comfort him, saying that Alonso Quijano may be dead but Don Quixote lives on. When Sancho addresses her as Aldonza, she replies, "My name is Dulcinea."
The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript. It is his (as yet) unfinished novel, Don Quixote. As Cervantes and his servant mount the staircase to go to their impending trial, the prisoners, led by the girl who played Dulcinea, sing "The Impossible Dream" in chorus.
Musical numbers
"Overture"
"Man of La Mancha (I, Don Quixote)" – Don Quixote, Sancho
"Food, Wine, Aldonza!" – Muleteers
"It's All the Same" – Aldonza
"Dulcinea" – Don Quixote
"I'm Only Thinking of Him" – Antonia, Padre, Housekeeper
"We're Only Thinking of Him" – Antonia, Carrasco, Padre, Housekeeper
"The Missive" – Sancho
"I Really Like Him" – Sancho
"What Does He Want of Me?" – Aldonza
"Little Bird, Little Bird" – Muleteers
"Barber's song" – Barber
"Golden Helmet of Mambrino" – Don Quixote, Sancho & Barber
The first Spanish production opened in 1966 in Madrid, Spain, starring Nati Mistral as Aldonza and the great Spanish baritone Luis Sagi-Vela as Quixote/Cervantes. A cast album was released by Columbia Records featuring four songs, all except the last sung by Sagi-Vela: "The Impossible Dream", "Dulcinea", "Little Bird", and "What Do You Want From Me".
The first Mexican production premiered on February 19, 1969, at the Teatro Manolo Fábregas in Mexico City, with Mistral reprising her acclaimed Aldonza, Claudio Brook as Quixote/Cervantes, and Oscar Pulido as Sancho Panza. The best-selling cast recording was issued by MCA/Decca on LP, and was later re-issued on CD by Honda Music International.
A Peruvian cast album was released in 1969 as well.
José Sacristán and Paloma San Basilio starred in an acclaimed Madrid revival in 1998.[26] A 2-disc cast album was issued by EMI-Odeón, recorded live at Teatro Lope de Vega.
A 2004 revival opened at the Teatro Calderón in Madrid and also toured throughout Spain, finishing in Barcelona.
On September 28, 2016, a new production opened at the Teatro de los Insurgentes in Mexico City, with Benny Ibarra as Quixote/Cervantes, Ana Brenda Contreras as Aldonza and Carlos Corona as Sancho Panza.
Swedish
The first Swedish production opened September 1, 1967 at Malmö Stadsteater (now Malmö Opera). Starring in the three lead roles were Lars Ekman, Maj Lindström and K G Lindström.
The first German language version was written by Robert Gilbert and started on 4 January 1968 in Vienna with Dietrich Haugk as director. Don Quixote/Cervantes was played by Josef Meinrad, Aldonza by Blanche Aubry and Sancho Panza by Fritz Muliar. The production was quite successful and subsequently shown in other German speaking theaters. A recording with the German cast was published by Polydor within the same year.[29][30]
An Austrian version of the musical, in German, was presented on Austrian television in 1994, with Karl Merkatz (playing Cervantes and Quixote at the age of sixty-four) and Dagmar Hellberg in the leading roles.[31][unreliable source?]
French
A French adaptation premiered at the Théâtre des Champs-Élysées on December 11, 1968. Belgian singer-songwriter Jacques Brel translated the songs and played the lead (the only time he ever adapted songs written by other writers or appeared in a stage musical). Joan Diener reprised her role as Aldonza (this time singing in French).[17][32] It was recorded and issued in 1968 as the album L'Homme de la Mancha.[33]
Another French version based on Brel's translation was produced in Liège in 1998 and 1999 with José van Dam in the lead role.[34]
In March 2012, French baritone David Serero performed the lead of role of Don Quixote in a new production, produced by himself, in Paris and Deauville with an international cast including Jeane Manson, Charlie Glad, Lionel Losada, Gilles San Juan and directed by James Marvel.
A Bulgarian stage adaptation was realized directed by Grisha Ostrovski.
Cantonese
A Cantonese production entitled "The Heroic Spirit of a Warrior" opened in 1982 in Hong Kong, starred Yiu Tsang-Pak as the leading role. Another Cantonese production with a new title "Sleepwalking Knight of La Mancha" opened in Hong Kong in 2004, with Yiu Tsang-Pak returning as the leading role. The book was re-translated by Rupert Chan.
Chinese
The first Mandarin Chinese production of the musical opened Dec. 2015 in Shanghai, China, starring Kain Liu as Don Quixote/Cervantes. This production used "I, Don Quixote" as title, and was directed by American director Joseph Graves. In May 2016, the show premiered in Beijing with Kain Liu repeating the title role.
Bengali
A Bengali adaptation by Arun Mukherjee entitled Dukhi Mukhi Joddha was staged in Calcutta in 1994 by the theater group Chetana, under his direction.
In April 2018 Chetana once again staged a much elaborate adaptation of the musical under the direction of Sujan (Neel) Mukhopadhyay, entitled Don...Takye Bhalo Lagye and starring Suman Mukhopadhyay in the title role.
Korean
A Korean production first opened at the Haeorum Theater of the National Theater of Korea in 2005 under the name Don Quixote. Ryu Jung-han and Kim Seong-ki starred as the main characters.
In a 2007 production, this time staged under its original name, Cho Seung-woo and Jung Sung-hwa starred as Quixote/Cervantes. They reprised their roles a year later and in 2010.
Multiple stars played the titular role in the 2012 production, including Hwang Jung-min (who had to step down due to him directing and starring in a production of Sondheim's Assassins and was replaced by Ryu Jung-han), Seo Bum-suk, and Hong Kwang-ho.
Jung Sung-hwa and Cho Seung-woo played the main character in a 2013 production.
In a 2015 production marking the tenth anniversary of the musical's first performance in Korea, Jo and Ryu returned in the lead role.
Japanese
A Japanese-language production entitled The Impossible Dream was produced in Tokyo, Japan, where Matsumoto Kōshirō IX (as Ichikawa Somegorō VI) took the lead role.[28]
Others
The musical has been and continues to be produced in many other languages around the world, and in 2012 and 2013 played in Germany, Hungary, Czech Republic, Romania, China, Poland, Dominican Republic, Chile, Russia, and in Rio de Janeiro, Brazil. Cast albums are available in many languages including German from the 1968 Vienna performance (Der Mann von La Mancha) and the 1969 Hamburg cast (Der Mann von La Mancha), the 1969 Dutch cast (De Man van La Mancha), the 1970 Norwegian cast (Mannen frå La Mancha), the 1997 Polish cast (Człowiek Z La Manchy), the 1997 Czech cast (Muž Z la Manchy), the 2001 Hungarian cast (La Mancha Lovagja), and many others.[28]
^Abbe A. Debolt: Encyclopedia of the Sixties: A Decade of Culture and Counterculture. ABC-CLIO, 2011, ISBN9780313329449, pp. 389-390 (excerpt, p. 389, at Google Books)
^Wasserman, Dale. The impossible musical (2003). Hal Leonard Corporation. ISBN1-55783-515-2, pp. 48–53
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