Chicago theater has always prided itself on its daring, new interpretations of old classics. The results are often eye-opening, shedding new light on an old familiar work or theme. But change simply for the sake of change is not a valid reason to reinvent something that is tried-and-true. The old adage, "If it ain't broke, don’t fix it" comes to mind. So while there is some validity to Theo Ubique's unusual concept, be warned: this is not your parents' "Man of La Mancha."
Guest director David Heimann's production still features the original concept of a play within a play. But instead of the traditional 17th-century prison setting during the Spanish Inquisition, the director has chosen to reset the piece in a modern-day mental institution. On a certain level this works because both locales are dismal, dangerous and confining, especially in the claustrophobic No Exit Cafe setting. Cervantes's story is enacted by sadistic doctors and deranged mental patients as opposed to the violent criminals in the original production. Once again, the concept works as with Don Quixote's squire Sancho being played by one of the asylum's attendants.
However Heimann's most radical change is his decision to cast an actress in the leading role of Cervantes/Don Quixote. Even this idea, as jarring as it sounds, has merit. The new patient thinks she is author Miguel de Cervantes and imagines she is being led into a prison where she will face the Grand Inquisitor. The medical staff and the inmates humor her as she encourages them to bring her novel of Don Quixote to life.
But Mr. Heimann's changes are not all satisfactory. The blocking, although difficult in this tiny space, is sometimes confusing or unfocused. Many of the actors lack involvement with Cervantes's characters while trying too hard to portray the crazy inmates. Sometimes the lovely musical accompaniment simply overwhelms the actors and, particularly with Aldonza and Quixote, the actors are either singing far above or below their range. The always excellent Danielle Brothers is dramatically flawless in the leading role, although the absence of Quixote's rich bari-tenor was jarring. While the supporting ensemble all have moments of brilliance, only Maggie Portman as Antonia and Michael Herschberg as the Innkeeper (sporting a hand puppet as his wife) consistently shine.
Kudos to Heimann for taking some chances with his reimagined version of Don Quixote. It offers some validity and will appeal to certain audiences. But for my money this Tony Award-winning musical works best as it was originally written and staged as a cry for chivalry and "The Impossible Dream."
Reviewed by Centerstage!
Map it