THEATER REVIEW : Scaled-Down ‘La Mancha’ Rises to the Occasion

There is a reason some shows work better on a small scale. “Man of La Mancha” appears to be one of those shows.

It has nothing to do with the “La Mancha” score by Mitch Leigh and Joe Darion, even though it contains that big-show applause-getter “The Quest (The Impossible Dream).” And it has little to do with Dale Wasserman’s crisp and theatrical book.

When the scale of their show is cut down, as in the Musical Theatre Company production at the Gem Theatre, you can see the shape of Wasserman’s intent very clearly, and with the score not miked, as it is here, the piece becomes properly a drama with music, or if you will, a chamber musical.

It works just fine, and that’s the best compliment director Beth Hansen could give to Wasserman, Leigh, Darion, Cervantes and the erring knight himself.

Another reason is the resulting amplification of the original intent of the show, the moral provided by Wasserman in combining the characters of both adventurer-poet Miguel Cervantes, and his noble creation, that grand molder of dreams, Don Quixote de la Mancha. They symbolize everyman’s need to climb the highest mountain.

George Quick, who plays Cervantes/Quixote, is aware of the opportunity for extra dimension created by the smaller size. Consequently, he gives both roles a deep core of emotional hunger that echoes the poet’s psychological yearning and the knight’s unreasonable romanticism. The bronze patina of Quick’s baritone is ideal for the material, both musical and dramatic, or the authentic period tone of the production.

Tim Mueller’s 16th-Century Spanish prison setting is lichen-covered stone and ominous shadow. Robert L. Smith’s masterful lighting is pure Caravaggio, with its selective chiaroscuro balance. Cristan Jonas’ costumes look as ratty and well-worn as they should.

Hansen fills this framework with naturalistic movement and imperceptibly blended tonal shades and subtle rhythms that make the musical moments logical and honest digressions from the drama, especially under the expert musical direction of Terence Alaric.

Next to Quixote, the most important character to have just right in this drama is the knight’s lady Dulcinea--actually Aldonza--the grubby scullery maid at the inn. In that role, Fiama Fricano is a fine match for Quick, both vocally and dramatically, and has just the right sense of terror living on after the powerful and symbolic rape scene with the muleteers.

*

Michael Immel is a wonderful Sancho, with a flair for comedy that doesn’t overstep its bounds, and D.C. Anderson a super Innkeeper/Governor, with a light touch of humor that makes a strong impression.

Jon Talberg’s serious Padre is funny just because he is so serious, especially contrasting with his giggling lunatic prisoner, and John Bisom’s evil Dr. Carrasco also contrasts well with his heroic prisoner, the Duke.

Heather Stoltzfus also stands out as Quixote’s avaricious niece Antonia. In a company that’s very strong down to the smallest role, only Dan Stroud seems out of place, providing surface shtick instead of acting as the Barber who unwittingly donates his brass shaving bowl to Quixote for a golden helmet.

*

“Man of La Mancha,” Gem Theatre, 12852 Main St., Garden Grove. Thursdays through Saturdays, 8 p.m.; Sundays, 7 p.m. Ends May 21. $20-$26. (714) 741-9550. Running time: 2 hours. George Quick: Don Quixote/Cervantes Fiama Fricano: Aldonza/Dulcinea Michael Immel: Sancho Panza/Manservant D.C. Anderson: Innkeeper/Governor John Bisom: Dr. Carrasco/The Duke Jon Talberg: The Padre Heather Stoltzfus: Antonia Dan Stroud: The Barber

A Musical Theatre Company production of the Wasserman/Leigh/Darion musical drama, produced by George Quick. Directed by Beth Hansen. Musical direction: Terence Alaric. Scenic design: Tim Mueller. Lighting design: Robert L. Smith. Sound design: David Edwards. Choreography: Susan Errickson. Costume design: Cristan Jonas. Production stage manager: Nancy Staiger.