MAN OF LA MANCHA

Themi Venturas scores another success with his ground-breaking production at Catalina. (Review by Caroline Smart)

Director Themi Venturas has scored another ground-breaking success with his production of Man of La Mancha, currently running at the Catalina Theatre.

The original Man of La Mancha is a musical with a book by Dale Wasserman, lyrics by Joe Darion and music by Mitch Leigh inspired by Miguel de Cervante’s Don Quixote.

The publicity material states that the production company, TheatreBIZ, aims to reclaim Man of La Mancha's experimental roots and turn it back into the show it was originally meant to be. Written in the middle of the turbulent 1960s (one year before Hair), it explores the price paid for the losses of Freedom of Speech and Freedom of Religion, two fundamental rights that are being threatened every day by governments and institutions throughout Africa.

I approached the show with a certain amount of intrigue, wondering how Themi Venturas was going to pull this off but five minutes into the production I was captivated at the concept and how well it worked.

Venturas places this well-known and much-loved musical in the confines of a contemporary South African jail rather than Spain at the end of the 16th century in the prison in Seville of the original production. The main protagonists are thrown into jail prior to their appearance before the Inquisition.

My Sony Classical recording features Plácido Domingo with Julia Migenes and Mandy Patinkin, giving an idea of the vocal quality required for this musical which makes strong demands on the cast members. Considering that, to date, many of the Catalina performers in this production have not yet acquired the singing and theatrical experience to do full justice to the sweeping dramatic score and lyrics, the show is honest, humorous and entertaining.

All kudos to one and all behind the innovative concept which sees a trio of drama students being thrown into the backyard of the Ballito Police Station along with a bunch of criminals and students arrested after mayhem at the Ballito “rage”. They are set upon by their fellow inmates who then demand their own “inquisition”. The leader of the drama students (Cobus Venter) explains that his only crime is that of being an idealist and an honest man, while admitting that he acknowledges that he and his group are bad actors.

He continues his plea by calling for his fellow actors to don costumes and, by encouraging the fellow inmates to become involved, proceeds to tell the story of an eccentric squire, Alonso Quijana, who takes on the persona of a wannabee knight named Don Quixote. This slightly deranged gentleman mistakes windmills for giants, a shabby pub for a castle and a prostitute as a high-born lady of the land. All he wants to do is add a measure of grace to the world.

In this role, Cobus Venter is endearingly impressive and his distinctive tenor voice lends itself well to numbers such as I, Don Quixote; Dulcinea, Golden Helmet of Mambrino (actually a shaving basin), and Dream the Impossible Dream. His scene as he waits to be knighted as the Knight of the Woeful Countenance was poignant as was the final deathbed scene where “Don Quixote” recedes into “Alonso Quijana”, only to be resuscitated by Aldonza’s desperate pleas to remember his ideals.

As Quixote’s loyal manservant Sancho, Liam Magner extracts all the delicious humour from his character and numbers such as I Really Like Him and A Little Gossip were a delight. Caitlin Kilburn shows tremendous promise in her interpretation of the role of the fiery Aldonza while Grant Jacobs lent dignity to his role of the Padre and his rendering of To Each his Dulcinea.

Musical director Luke Holder has the rock-solid support of virtuoso ‘flamenco’ guitarist Demi Fernandez and the rest of the cast includes Professor Bhengu, Allison Grace; Lungelo Gwala; Judith Hawthorne; Ayanda Khanyile, Nomonde Matiwane, Simthandile Mtolo, Ntando Ncube, Silindile Ndlovu, and Maya Spector. Choreography and combat staging is by Daisy Spencer.

I loved the clever use of basic props as well as the wire-heads that make up the horses that Don Quixote and Sancho ride.

Man of La Mancha runs until March 7. Performances are Thursday to Saturdays at 20h00 with an early show at 17h00 on Saturdays (Sundays at 14h00 and 18h00) Tickets R90 (R50 for previews and matinees.) Bookings through Thandeka on 031 305 6889 or email tsibisi@mweb.co.za

Catalina Theatre tickets are now available online at www.strictlytickets.co.za or at www.catalinatheatre.co.za or at www.goingplacesSA.co.za / www.goingplacesSA.com

The Catalina Theatre is still functioning thanks to support from Rainbow Chicken; National Arts Council and Ethekwini Municipality. – Caroline Smart