Just saw "Man of La Mancha"
Oct 17th, 2002 | 09:19 AM
#1
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Just saw "Man of La Mancha"
Last night I saw "Man of La Mancha" at the National Theatre in Washington DC. It's in its pre-Broadway run and is moving to Broadway in November I believe, so I thought I'd post my impressions in case anyone is thinking about getting tickets.
Apparently I was in the minority in thinking that while the show was promising, it's not quite "there" yet. Given the standing ovation for Mary Elizabeth Mastrantonio and Brian Stokes Mitchell and the comments I overheard as people were leaving the theatre ("wow, wasn't that fantastic?!") I would say that most of the attendees enjoyed the performance a bit more than I did. I definitely felt like I was in the minority in that regard.
The show's strongest asset, aside from the lovely songs familiar to many theatregoers, is Brian Stokes Mitchell. His voice is wonderful and so is his performance. He is utterly believable.
The set is awe-inspiring at first but has some flaws & kinks to be worked out. It is surprisingly modern-looking, heavy on the metal, with a creative spiral staircase that moves and separates. However, one of the flaws which I hope will be worked out is that the staircase makes a great deal of noise when it moves. Also, because of the nature of the staircase (it divides in two at various points in the show), at times it leaves players "stranded" with nowhere to go while they're playing a scene on it, which is distracting. In addition, there is a scene where they lower a full moon into view, and the moon was sort of moving up and down which was, again, a distraction and reminded me of the kind of rough edges you often see in dress rehearsals. The lighting also still needed some work. Many of the scenes were far too dimly lit, and there was at least one time when Mary Elizabeth Mastrantonio was singing, but the lights were everywhere on the stage EXCEPT on her.
Overall, however, I would say that the main problem right now with the show is the pace. I felt that it was extremely plodding. Even during the musical numbers, some of them plodded along almost like a dirge. I knew the music was supposed to be uplifting and inspiring, but it felt draggy and weighted instead. I think most of this problem could be solved by simply picking up the pace. "To Dream the Impossible Dream" is not a funeral march!
Also, while some of the musical performances were great (especially some nice flamenco-style acoustic guitar), overall the orchestra sounded thin -- especially for the robust score -- and all of it, including the singers, sounded almost muffled in many places. Much of this could be an acoustic problem of the National Theatre rather than a performance issue. (continued)
Apparently I was in the minority in thinking that while the show was promising, it's not quite "there" yet. Given the standing ovation for Mary Elizabeth Mastrantonio and Brian Stokes Mitchell and the comments I overheard as people were leaving the theatre ("wow, wasn't that fantastic?!") I would say that most of the attendees enjoyed the performance a bit more than I did. I definitely felt like I was in the minority in that regard.
The show's strongest asset, aside from the lovely songs familiar to many theatregoers, is Brian Stokes Mitchell. His voice is wonderful and so is his performance. He is utterly believable.
The set is awe-inspiring at first but has some flaws & kinks to be worked out. It is surprisingly modern-looking, heavy on the metal, with a creative spiral staircase that moves and separates. However, one of the flaws which I hope will be worked out is that the staircase makes a great deal of noise when it moves. Also, because of the nature of the staircase (it divides in two at various points in the show), at times it leaves players "stranded" with nowhere to go while they're playing a scene on it, which is distracting. In addition, there is a scene where they lower a full moon into view, and the moon was sort of moving up and down which was, again, a distraction and reminded me of the kind of rough edges you often see in dress rehearsals. The lighting also still needed some work. Many of the scenes were far too dimly lit, and there was at least one time when Mary Elizabeth Mastrantonio was singing, but the lights were everywhere on the stage EXCEPT on her.
Overall, however, I would say that the main problem right now with the show is the pace. I felt that it was extremely plodding. Even during the musical numbers, some of them plodded along almost like a dirge. I knew the music was supposed to be uplifting and inspiring, but it felt draggy and weighted instead. I think most of this problem could be solved by simply picking up the pace. "To Dream the Impossible Dream" is not a funeral march!
Also, while some of the musical performances were great (especially some nice flamenco-style acoustic guitar), overall the orchestra sounded thin -- especially for the robust score -- and all of it, including the singers, sounded almost muffled in many places. Much of this could be an acoustic problem of the National Theatre rather than a performance issue. (continued)
Oct 17th, 2002 | 09:20 AM
#2
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The supporting cast was excellent. Ernie Sabella gets some nice laughs but sometimes I felt like he was in a different show than Brian Stokes Mitchell. They didn't really have much in the way of chemistry -- unfortunate given how many scenes they have together -- although they were both very good. Maybe I've seen "The Lion King" too many times, but when Ernie Sabella talks I hear Pumbaa, not Sancho. And when he sings -- well, let's just say he's a great character actor regardless of his singing.
I had no idea what to expect of Mary Elizabeth Mastrantonio in this role, having only previously seen her in film roles like "The Color of Money" and "The Perfect Storm." I wondered if she could carry a tune and how she would hold her own against Brian Stokes Mitchell. Her voice is surprisingly strong. While not necessarily a great natural vocal talent, her voice seems well-trained, to the limit of its abilities. She has some trouble changing registers, and in the upper register some of the higher notes often come off as too shrill, but overall I thought her performance and her acting were good in what is certainly a demanding role. Again, though, I didn't feel great chemistry between her and Brian Stokes Mitchell. In fact she plays her character as so hardened in the beginning that it is a little hard to accept it when she softens later.
One note: the players still look uncomfortable with their blocking during one of the major "fight" scenes -- it played extremely awkwardly and slowly (like dancers looking at their feet and trying to remember the steps).
In addition, the show could use a few lighter moments. The funniest scene, and one of the most well-played, was the "gypsy" scene, which provided some much-needed comic relief. In some other scenes I felt like the show took itself a bit too seriously. It's a fine line, because it must be played seriously enough that you begin to believe in Don Quixote -- but I also think it should be played lightly enough that you can enjoy the fundamental humor of the situations he is in.
The lingering impression the show leaves is the feeling that the show was full of potential and had some wonderful moments, but was not all it could have been. I would bet that many of the current problems -- especially the slow pace, the lights, the set, and the sound -- will have been resolved by the time the show opens on Broadway. But as it stands now, this is the kind of show I would recommend if you can get half-price tickets at the TKTS booth, but wouldn't want to pay $75 or $100 for.
Again -- just my impression. Others loved it.
I had no idea what to expect of Mary Elizabeth Mastrantonio in this role, having only previously seen her in film roles like "The Color of Money" and "The Perfect Storm." I wondered if she could carry a tune and how she would hold her own against Brian Stokes Mitchell. Her voice is surprisingly strong. While not necessarily a great natural vocal talent, her voice seems well-trained, to the limit of its abilities. She has some trouble changing registers, and in the upper register some of the higher notes often come off as too shrill, but overall I thought her performance and her acting were good in what is certainly a demanding role. Again, though, I didn't feel great chemistry between her and Brian Stokes Mitchell. In fact she plays her character as so hardened in the beginning that it is a little hard to accept it when she softens later.
One note: the players still look uncomfortable with their blocking during one of the major "fight" scenes -- it played extremely awkwardly and slowly (like dancers looking at their feet and trying to remember the steps).
In addition, the show could use a few lighter moments. The funniest scene, and one of the most well-played, was the "gypsy" scene, which provided some much-needed comic relief. In some other scenes I felt like the show took itself a bit too seriously. It's a fine line, because it must be played seriously enough that you begin to believe in Don Quixote -- but I also think it should be played lightly enough that you can enjoy the fundamental humor of the situations he is in.
The lingering impression the show leaves is the feeling that the show was full of potential and had some wonderful moments, but was not all it could have been. I would bet that many of the current problems -- especially the slow pace, the lights, the set, and the sound -- will have been resolved by the time the show opens on Broadway. But as it stands now, this is the kind of show I would recommend if you can get half-price tickets at the TKTS booth, but wouldn't want to pay $75 or $100 for.
Again -- just my impression. Others loved it.
Oct 17th, 2002 | 10:17 AM
#3
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Thanks for the info, Lisa. I'm the one who was asking about trying to get discounted tickets for the NYC run--it is a favorite show of mine and I want to take my mother and aunt, but the thought of 3 or 4 full price tickets is a bit daunting, so it's good to know if it's really worth shelling out the money now or hoping that there will be discounts later on.
Oct 17th, 2002 | 12:27 PM
#6
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Lisa: Excellant review, you confirmed my expectations. Thanks.
I vaguely remember seeing the original as a youngster and it wasn't my cup of tea at the time. Saw the Broadway revival with Raul Julia several years ago and it was a snoozzzzzzer. I'll steer clear of this production until the reviews are in.
I vaguely remember seeing the original as a youngster and it wasn't my cup of tea at the time. Saw the Broadway revival with Raul Julia several years ago and it was a snoozzzzzzer. I'll steer clear of this production until the reviews are in.
Oct 25th, 2002 | 11:23 AM
#7
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For what it's worth, here's the review from today's Washington Post:
http://www.washingtonpost.com/wp-dyn...2002Oct24.html
http://www.washingtonpost.com/wp-dyn...2002Oct24.html
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Oct 25th, 2002 | 12:07 PM
#9
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Lisa - Fantastic. My kind of review. Not just a thumbs up/down, real detail. We are seeing it when it comes to NYC, just because we see everything. By the way, have you ever heard Linda Eder sing Man of La Mancha? Amazing. Makes the hairs on your arms stand up. She was in Jekyl and Hyde and will be in a new show coming to Broadway next year, Havana. Her CD's are all fabulous.
Oct 25th, 2002 | 12:18 PM
#10
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Actually, I found the review in the Washington Post to be very negative--basically it said only about 7 minutes worth of the performance, 3 of Brian Stokes Mitchell's songs, are worth seeing out of a 2 hour show. And it says that , in the reviewer's opinion, the show as written,is pretty lame and unsalvagable
Oct 25th, 2002 | 01:22 PM
#12
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Any other opinions? I'm looking into the $65 tickets, but for several people, it's a lot of $$, so i'd like to hear other views. I've always liked the music, but I've never seen the show staged, so should I just listen to my CD and enjoy it that way??? 
Oct 25th, 2002 | 08:57 PM
#16
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Excellent review, Lisa, you sound like you know what you're talking about. "Man of LaMancha" is one of my favorite shows, have done it in community theater (no comparison, of course) as music director. The score is fantastic as is the story, but you're right it has to have the levity to offset the grimness. But the message is right on: when someone believes in you, you can begin to see yourself through their eyes. Off topic, but have you seen "Hairspray"? Rosie O'Donnell raved about it so much on Leno, she gave everyone in the audience a cast recording.
Oct 28th, 2002 | 10:24 AM
#19
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nyer ([email protected]) or someone else: can anyone update me on the $35 ticket offer? Is there a code you could pass along, or the name of the sponsoring group so I could contact them/get on their mailing list?? Many thanks!
