Judging a ‘Man of La Mancha’ by Its Company

Dale Wasserman’s “Man of La Mancha” is one of the few musicals that isn’t plagued with that age-old problem--a weak book. Wasserman knew a classic when he saw one and stuck pretty close to the original by Miguel de Cervantes.

And Wasserman used Cervantes’ own problems with the Spanish Inquisition as the hook for the famous poet-actor-playwright’s theatrical flight into his unfinished novel “Don Quixote” while awaiting trial.

The vibrant score by Mitch Leigh and Joe Darion also clings to Cervantes’ world of fancied heroism, chivalry and romance, including such standards as “The Impossible Dream,” “Dulcinea” and “Little Bird, Little Bird.”

Director Griff Duncan has staged the show a couple of times before for Fullerton Civic Light Opera. His affection for it is evident in his current production, particularly in the bright tempos he maintains and his handle on the often rapid rise and fall of dramatic elements, from lighthearted banter to fervent emotional power to meaty romanticism.

Donna Ruzika’s excellent lighting design often gives the production a look of the chiaroscuro paintings of Cervantes’ day, even on the rather unexceptional setting, courtesy of the San Bernardino CLO. If there’s one flaw in Duncan’s staging, it’s that he hasn’t taken advantage of this similarity.

There are many moments when his blocking leaves his actors all in a line, or in clumped groups at either side of the central figures, rather than arranging them in the style of those 16th century canvases, which would add a visual distinction that’s missing.

Duncan has a fine cast for this revival, and their vocal work is top rank across the board. John Huntington’s Cervantes/Quixote easily spans the stylistic distance between the intelligent poet-playwright and the doddering knight errant. Only a few moments of mechanical-looking doddering briefly take the shine off his performance.

There are no such lapses in Mary Gutzi’s overpowering, finely detailed Aldonza/Dulcinea; she is a gutter peasant whose honesty and simplicity make Quixote’s belief that she is a lady believable and touching.

Honestly and simplicity are also the hallmarks of Carl Nelson’s utterly charming Sancho Panza. He shows the expert timing of a burlesque comic and the rare ability to underplay and still command the stage.

Enrique Acevedo’s Pedro, the head Muleteer, stands out for his brutish and brutal energy in a smaller role that often goes by the wayside in productions.

In the supporting cast, Jack Ritschel as the Governor/Innkeeper, Randy Gianetti as the Duke/Dr. Carrasco, Eric J. Hindley as the Padre and Holly Stiles as Antonia all give effective, if rather ordinary, performances.

Part of the effectiveness of the staging is due to the Broadway pit-band zest musical director Todd Helm gives the score and Richard Tarczynski’s robust and visually potent choreography.

* “Man of La Mancha,” Plummer Auditorium, 201 E. Chapman Ave., Fullerton. Thursdays through Saturdays, 8 p.m.; Sundays, 2 p.m.; additional Sunday evening performance May 19, 7 p.m. Ends May 26. $14-$30. (714) 526-3832 or (714) 879-1732. Running time: 2 hours, 10 minutes.

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John Huntington: Cervantes/Don Quixote

Mary Gutzi: Aldonza/Dulcinea

Carl Nelson: Sancho/Manservant

Jack Ritschel: Governor/Innkeeper

Randy Gianetti: The Duke/Dr. Carrasco

Eric J. Hindley: The Padre

Holly Stiles: Antonia

Enrique Acevedo: Pedro

A Fullerton Civic Light Opera production of the Dale Wasserman musical. Produced by Jan & Griff Duncan. Directed by Griff Duncan. Musical direction: Todd Helm. Musical staging/choreography: Richard Tarczynski. Lighting design: Donna Ruzika. Costume coordination: Ambra King Wakefield. Production stage manager: Donna R. Parsons.