Written by: Dale Wasserman. Music by: Mitch Leigh Lyrics by: Joe Darion. At: Light Opera Works at Cahn Auditorium, 600 Emerson St., Evanston. Tickets: 847-920-5360. www.LightOperaWorks.org; $32-9. Runs through: Aug. 26
By whatever name you call him—I, Don Quixote, Lord of La Mancha, Knight of the Woeful Countenance, Don Alonso Quijana or Miguel de Cervantes—the title role in Dale Wasserman's Man of La Mancha is its heart and soul. In Light Opera Works' production, the role is in the hands of the assured, venerable Chicago acting vet and six-time Jeff Award winner James Harms.
But regardless of who dons the golden helmet, the success of any production of this 1966 Tony winner for Best Musical hinges on how it builds up to and delivers its most famous song—one of Broadway's greatest anthems—"The Impossible Dream." Given the consistently astounding sets, first-rate technical production and quality musicianship of Light Opera Works productions, the stage is set in every sense for Harms to knock it out of the park, and he does.
The play-within-a-play structure of Cervantes using his Don Quixote manuscript to defend himself in the eyes of other prisoners awaiting inquisition does require of a wider range of acting capability, however, and Light Opera has always cast more on vocal strength. The fantastic singers don't always have the acting chops to match, but because "The Impossible Dream" not only soars but lands in the audience, it's a mission accomplished.
It really is that simple when it comes to Man of La Mancha. Compared to the bulk of Light Opera's seasonal repertoire, the musical is practically cutting-edge contemporary, but its operetta-like nature makes it an ideal fit for the not-for-profit musical-theater company. Although this shows allows for a higher acting ceiling, it's not crucial; their performances don't take anything away from Harms.
The cast is loaded with knockout pipes, including Colette Todd as the prostitute Aldonza, whom Quixote perceives as the fair maiden Dulcinea, Cary Lovett as the squire Sancho Panza and even Bill Chamberlain as the Padre, who sings the more underrated solo of the show, "To Each His Dulcinea." But it's all about Harms and if the audience likes Quixote enough to subscribe to his philosophy. Harms gifts us such distinguished humility in his performance—uncommon in musicals with such an obvious performer spotlight.
The musical talent and the degree of technical quality coupled with a dedication to musical theater's most enduring, time-tested works assures Light Opera Works can really do no wrong. Man of La Mancha is a show that could benefit from some experimentation, but this consummate production offers no reason to criticize its adherence to the tried and true.
