Man of La Mancha is a musical version of the legend by Cervantes (1547-1616) - the story of mad knight Don Quixote, who lived his life in a chivalric romance. Though the performers do not seem to grasp the full potency of the script, they capture its emotional highs and lows. This is not a production which will stir deep political thought - it's an entertaining hour and a half.

The stage design is evocative. A castle or fort is suggested using grey stacked crates. Dan Matters's orchestration, which allows some cast members to underscore, is inspired. Though at points the accompaniment feels weak, the music functions well and blossoms organically.

John Davenport's direction is sloppy at first. Clumsy stage directions are barely concealed. Badly made scriptural edits blur the circumstances of the imprisonment of story-teller Cervantes (Eli Williams). This slow start inhibits the actors. Eli Williams's characters are not immediately bold or exciting. Other performances are also flat. Cary Jo Davis's Sancho Panza (servant of Don Quixote) is remarkably two-dimensional and stagey.

But the entrance of Aldonza (Courtney Mize) - Don Quixote's divine Dulcinea - picks up the pace. John Davenport's direction takes off, and the actors fly with it. The juxtaposition of Aldonza's circumstances - molested by a violent gang of men and cherished and glorified by the innocent Quixote - is truly moving. Courtney Mize commands the stage - appropriately dressed in a leather corset and ragged flame-coloured skirt - with passion and anger. 'Talk with your mouth not your hands' she snaps, as her body instantaneously responds to the misogynistic advances of the male chorus.

Eli Williams's performance now comes to life. Charged by Courtney Mize's characterisation, his becomes a believable idealist; the quality of his voice shines. Austin Smith is charming to watch as the Padre; energetic and sympathetic. Cary Jo Davis Sancho provides a little light release. But the darkness of Dulcinea's life and Cervantes's prison falls a little too thick.

John Davenport succeeds in evoking from the cast the pain of rape and the horror of execution. He fails to make the most of the human comedy with which the script is sprinkled. As the production draws towards its tragic end, with Dulcinea at the dying Don Quixote's bedside, there are tears being held back. They, like Quixote, would sally forth if this great man were a stronger ray of light. This Man of La Mancha is not a ground-breaking production, but it showcases some remarkable talent - Eli Williams and Courtney Mize in particular.

Cast Credits: (alpha order): Martina Cotelo - House Keeper. Cary Jo Davis - Sancho Panza. Jo Kelly - Dr Carrasco. Courtney Mize - Aldonza (Dulcinea). Austin Smith - Padre / Lead Musician. Jordan Smith - Gov. Eli Williams - Cervantes.

Company Credits: Writer (of Don Quixote (Volume 1, 1605; Volume 2, 1615)) - Cervantes (1547-1616). Original Book - Dale Wasserman. Original Lyrics - Joe Darion. Composer - Mitch Leigh. Orchestration - Dan Mattern. Director - John Davenport. Lighting Designer - uncredited. Technical Operator - Norman Berksdale. Sound / Stage Manager - Katherine Watson. Producer - uncredited. Company - Oxford High; Oxford Mississippi USA. Company - American High School Theatre Festival.

END

(c) Rebecca Gibson 2009

reviewed Tuesday 11 August 09 / Church Hill Theatre, Edinburgh UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com