Man of La Mancha
2004 · Sophie Leschin Theatre, Jacksonville Developmental Center, Jacksonville, Illinois
In the summer of 2004 the Jacksonville Theatre Guild mounted Man of La Mancha, Dale Wasserman, Mitch Leigh, and Joe Darion's musical retelling of Cervantes and his knight errant Don Quixote. Cervantes, thrown into a Spanish Inquisition prison, must win over his fellow inmates by enacting the story of the deluded old gentleman who imagines himself a knight, names a tavern wench his lady Dulcinea, and tilts at windmills he takes for giants. The Guild staged it for eight performances on the slightly raked boards of the Sophie Leschin Theatre on the grounds of the Jacksonville Developmental Center — a former funeral home, as one of Ken's mock reviews delighted in noting, with "no bodies present."
For Ken Bradbury, who directed and played the manservant Sancho Panza, the show carried a long history. As he wrote in his director's note, he and his brother Keith had first played Sancho and Quixote some twenty-seven years earlier in Jon Robb's pioneering Pittsfield Theatre Guild production — "one of our favorite shows." Now Keith, by then president of Franklin Bank, returned as Cervantes and Don Quixote opposite Teresa Goetten's Aldonza. Ken chose the show knowing its difficulty: "It's male-heavy, the rhythms drive you crazy, the set requires a master hand like Harvey Mack's, and it's a difficult piece to do well." His note paid tribute to three local theatre lights — Eugene Laurent, Jon Robb, and Rob Shaffer — who had all passed since their own La Mancha years: "Perhaps that's why we're using a raked stage… they've got a great view."
What survives in Ken's papers is an unusually full record of the production: a director's journal kept from the chilly first days of May through the May 29-30 auditions, daily performance notes, and a run of cast newsletters titled The Quest. The casting, drawn entirely from local talent, came together so quickly that Ken wrote, "We could close auditions today and cast the play." The cast left a deep mark on him; his final letter describes walking up out of a post-show party to hear Blake, Drew, Grant, and others singing songs of praise at the piano, and reading a gift book of memories in which performer after performer confessed they felt unworthy to share the stage with the others. Radio host Gary Scott praised the show on WLDS, and a County Market manager reported that "everyone coming in the store is talking about that show."
Musical Numbers
- Flamenco (Cantaor)
- Man of La Mancha (Quixote and Sancho)
- It's All the Same (Aldonza)
- Dulcinea (Quixote & Muleteers)
- I'm Only Thinking of Him (Antonia, Padre & Housekeeper)
- We're Only Thinking of Him (Antonia, Padre, Housekeeper & Carrasco)
- I Really Like Him (Sancho)
- What Does He Want of Me? (Aldonza)
- Little Bird, Little Bird (Quixote and Muleteers)
- Barber's Song (the Barber)
- Golden Helmet of Mambrino (Quixote and Ensemble)
- To Each His Dulcinea (Padre)
- The Impossible Dream (Quixote)
- The Combat (orchestra)
- The Dubbing (Governor)
- Knight of the Woeful Countenance (Governor, Aldonza, Sancho, Ensemble)
- The Abduction (orchestra)
- Man of La Mancha, reprise (Quixote)
- Moorish Dance (Charlamoor & Orchestra)
- Aldonza (Aldonza)
- A Little Gossip (Sancho)
- Dulcinea, reprise (Aldonza)
- Man of La Mancha (Quixote, Aldonza & Sancho)
- The Psalm (Padre)
- Finale (The Ensemble)
Cast
- Captain of the Inquisition — Harvey Mack
- Manservant / Sancho Panza — Ken Bradbury
- Miguel de Cervantes / Alonso Quijana / Don Quixote — Keith Bradbury
- Aldonza / Dulcinea — Teresa Goetten
- Governor / Innkeeper — Ed Carpenter
- Duke / Dr. Sanson Carrasco / Knight of Mirrors — Brad Barnes
- Antonia (Alonso's niece) — Jackie Clinton
- Housekeeper — Jodi Heitbrink
- Maria (Innkeeper's wife) — Cindy Herrera
- Padre — Blake Long
- Barber / Anselmo — Grant Estes
- Fermina (serving girl) — Jackie Manker
- Muleteers — Charles Smerz (Jose), Andrew Waters (Tenorio), Braxton Boren (Paco), Matthew Snodgrass (Juan & Guitar Player), Drew Snodgrass (Pedro)
- Gypsies / Moors — Sarah Smerz, Charles Smerz, Andrew Waters
- Attendants to the Knight — Braxton Boren, Charles Smerz, Drew Snodgrass, Matthew Snodgrass
- Prisoners — Gretchen Shaw, Jackie Clinton, Jackie Manker, Sarah Smerz
- Horse — Jackie Clinton
- Burro — Jackie Manker
Production Notes
- Director: Ken Bradbury (July 2004). Vocal direction by Lynda Locke; choreography by Tammy Zink; set design by Harvey Mack.
- Orchestra: Conducted by David Shaffer, with Lynda Locke on piano and a company of local musicians on trombone, oboe, clarinet, trumpet, classical guitar, flute, bass, French horn, and drums.
- Production staff: Patty Clinton (production coordinator & stage manager), Harvey Mack (set construction), Steve Varble (set painting), Brian Anstedt (lighting design), Janet Long (costumes & publicity), and many others. Costumes and armor were drawn in part from the Krannert Fine Arts Department at the University of Illinois, Grand Ball Costumes, and Robert Schmidt Costumes.
- Performances: Eight shows across two weekends — July 29 through August 1, and August 5 through 8, 2004 — with evening performances at 7:30 p.m. and Sunday matinees at 2 p.m. The Guild noted the show was not recommended for small children due to the violence of some scenes.
- From the journal: Ken's production diary, headed Tilting at Windmills, opens on "May Day, 2004" with him picking up the script and score on a chilly spring morning and fretting over whether his new porch flowers were marigolds or begonias. He recorded raiding Krannert's "armor vaults," storms that battered the Zink family and David Shaffer's business in late May, and the ordinary dread of auditioning his own friends: "I am not their judge, we eat cheeseburgers together, we go to shows, we pray, we laugh. What the heck am I doing in this chair, anyway?"
- The Quest newsletters: Ken kept the cast laughing through the run with daily editions of The Quest, full of staging notes (keep the stray sheep's hide clear of the near-blind Knight of the Mirrors), reminders to "choose carefully the color of your underwear," and a gleeful set of parody reviews credited to everyone from Variety ("Spanish spectacular does boffo box as hick pick of stix become hottest tix in town") to the National Enquirer ("500-Year-Old Ghost Haunts Midwest Theatre!").