Authors: Dale Wasserman
MAN OF LA MANCHA
Opened on December 5, 2002, at the Martin Beck Theatre in New York City, with the following cast:
(
IN ORDER OF SPEAKING
)
| CERVANTES/DON QUIXOTE | Brian Stokes Mitchell |
| CAPTAIN OF THE INQUISITION | Frederick B. Owens |
| SANCHO | Ernie Sabella |
| GOVERNOR/INNKEEPER | Don Mayo |
| DUKE/CARRASCO | Stephen Bogardus |
| ALDONZA | Mary Elizabeth Mastrantonio |
| QUITO | Andy Blankenbuehler |
| TENORIO | Timothy J. Alex |
| JUAN | Thom Sesma |
| PACO | Dennis Stowe |
| ANSELMO | Bradley Dean |
| PEDRO | Gregory Mitchell |
| JOSE | Wilson Mendieta |
| MARIA | Michelle Rios |
| FERMINA | Lorin Latarro |
| ANTONIA | Natascia Diaz |
| PADRE | Mark Jacoby |
| HOUSEKEEPER | Olga Merediz |
| BARBER | Jamie Torcellini |
| GUARD | John Herrera |
| GUARD | Jimmy Smagula |
| GYPSY DANCER | Lorin Latarro |
| GYPSY DANCER | Andy Blankenbuehler |
| PRISONER | Allyson Tucker |
| ONSTAGE GUITARIST | Robin Polseno |
Written by
Dale Wasserman
Music by
Mitch Leigh
Lyrics by
Joe Darion
Directed by
Jonathan Kent
Choreography by
Luis Perez
Scenic and Costume Design by
Paul Brown
Lighting Design by
Paul Gallo
Sound Design by
Tony Meola
Music Director:
Robert Billig
Original Dance Music by
Neil Warner
Original Orchestrations by
Music Makers, Inc.
Music Coordinator:
Michael Keller
New Dance Music by
David Krane
New Dance Orchestrations by
Brian Besterman
Casting by
Bernard Telsey Casting
Associate Director:
Peter Lawrence
Production Stage Manager:
Mahlon Kruse
MAN OF LA MANCHA
Locale: Spain at the end of the sixteenth century. A prison in the city of Seville and various places in the imagination of
MIGUEL DE CERVANTES
.
Setting: The common room of a stone prison vault whose furthest reaches are lost in shadow. It has niches and crannies where the prisoners make their nests. It is below ground, reached by a stairway which may be raised and lowered, drawbridge-style, and is lighted by scant cold rays sifting through a grille overhead. A trap in the floor may be raised to permit access to a level still lower. Stage right there is a fire covered by a grille, and stage left an open well. Other scenic elements are placed and removed by the prisoners as indicated.
The prison vault is actually a single basic setting within whose architecture the
DON QUIXOTE
scenes devised by
CERVANTES
play. In nature it is an abstract platform whose elements are fluid and adaptable. The primary effect is that of improvisation; it must seem as though all scenic, prop and costume items are adapted from materials already on stage, augmented by effects from
CERVANTES’
theatrical trunk.
Only in the inner play—as devised by
CERVANTES
—
is there musical style and form. The prison scenes framing the inner play are not “musicalized” in the sense that there is no singing or dancing in these except as may be motivated realistically. The play is performed without intermission.
There is an overture, then the orchestra is lost to sight as lights fade in on the common room of a prison vault. Some of the
PRISONERS
lie huddled in the shadows. One
strums a guitar; another dances a jaded, sensual seguiria gitana to its rhythm.
Sound and motion cease as the door at the head of the stairway opens and light streams down into the vault. The stairs are lowered and a little procession descends: first a uniformed
CAPTAIN OF THE INQUISITION
;
then a
SOLDIER
or two assisting a chubby
MANSERVANT
with a sizable but shabby straw trunk; then
CERVANTES
himself
.
MIGUEL DE CERVANTES
is tall and thin, a man of gentle courtliness leavened by humor. He is in his late forties but his dominant qualities are childlike—ingenuousness, a grave and endless curiosity about human behavior, candor which is very nearly self-destructive. He has, too, the child’s delight in play-acting, but since he is in actuality a trained actor, when called upon to perform he translates this delight into stylish verve and gusto. On his entrance he is carrying a wrapped oblong package under one arm. It is heavy.
CERVANTES’ MANSERVANT
is as old or older than his master, short, rotund, suspicious and pragmatic. The relationship between the two is obviously of long standing; indeed, they are rather like husband and wife who bicker yet are deeply devoted.
Now the
SOLDIERS
go back up the stairs.
CERVANTES
peers about, uncertainly.
CAPTAIN
(
Watching
CERVANTES;
sardonically
) Anything wrong? The accommodations?
CERVANTES
No, no, they appear quite … interesting.
CAPTAIN
The cells are below. This is the common room, for those who wait.
CERVANTES
How long do they wait?
CAPTAIN
Some an hour … some a lifetime …
CERVANTES
Do they all await the Inquisition?
CAPTAIN
Ah, no, these are merely thieves and murderers. (
Starting to leave
) If you need anything, just shout. (
An afterthought
) If you’re able.
(
He goes and the stairway is withdrawn
)
MANSERVANT
(
Apprehensively
) What did he mean by that?
CERVANTES
Calm yourself. There is a remedy for everything but death.
MANSERVANT
That could be the very one we need!
(
The
PRISONERS
are moving, circling, approaching like animals who scent prey
)
CERVANTES
(
With great courtliness
) Good morning, gentlemen … ladies. I regret being thrust upon you in this manner, and hope you will not find my company objectionable. In any case I shall not be among you very long. The Inquisition—
(
With a yell, the
PRISONERS
attack
.
CERVANTES
and the
MANSERVANT
are seized, tripped up, pinned to the floor. The
PRISONERS
are busily rifling their pockets as
THE GOVERNOR
,
a big man of obvious authority, awakens from sleep
)
THE GOVERNOR
(
In a roar
) Enough! Noise, trouble, fights … kill each other if you must but for God’s sake, do it quietly! (
To
CERVANTES
) Who are you? Eh? Speak up!
CERVANTES
(
Gasping as his throat is freed
) Cervantes. Don Miguel de Cervantes.
THE GOVERNOR
(
With mock respect
) A gentleman!
CERVANTES
(
Painfully getting to his feet
) It has never saved me from going to bed hungry.
THE GOVERNOR
(
Indicating the
MANSERVANT
) And that?
CERVANTES
My servant. May I have the honor—?
THE GOVERNOR
They call me The Governor. What’s your game?
CERVANTES
My game …?
THE GOVERNOR
(
Impatiently
) Your specialty, man. Cut-purse? Highwayman?
CERVANTES
Oh, nothing so interesting! I am a poet.
THE DUKE
(
A prisoner of draggle-tail elegance
) They’re putting men in prison for that?
CERVANTES
No, no, not for that.
THE DUKE
(
Sardonically
) Too bad!
THE GOVERNOR
(
Clapping his hands
) Well, let’s get on with the trial!
CERVANTES
(
As he is seized by two of the more villainous-looking
PRISONERS
) Excuse me, sir. What trial?
THE GOVERNOR
Yours, of course.
CERVANTES
But what have I done?
THE GOVERNOR
We’ll find something.
CERVANTES
You don’t seem to understand. I’ll only be here a few—
THE GOVERNOR
(
Patient but firm
) My dear sir, no one
enters or leaves this prison without being tried by his fellow prisoners.
CERVANTES
And if I’m found guilty?
THE GOVERNOR
Oh, you will be.
CERVANTES
What sort of a sentence …?
THE GOVERNOR
We generally fine a prisoner all his possessions.
CERVANTES
(
Hard-hit
)
All
of them …
THE GOVERNOR
Well, it’s not practical to take more.
CERVANTES
One moment! These things are my livelihood.
THE GOVERNOR
(
Puzzled
) I thought you said you were a poet.
CERVANTES
Of the theater!
THE GOVERNOR
(
Crossing to the trunk, digs out a sword and pulls it from its scabbard
) False!
CERVANTES
Costumes and properties. You see, actually I am a playwright and an actor. So of course these poor things could not possibly be of any use to … to …
(
He comes to a halt, reading the inimical faces. He makes a sudden grab for the sword, but
THE GOVERNOR
tosses it over his head to another
PRISONER
.
A cruel game ensues, the
PRISONERS
plundering the contents of the trunk, tossing them about as
CERVANTES
and the
MANSERVANT
stumble about, trying vainly to retrieve them
)
CERVANTES
(
Panting, realizing the futility
) Very well—take them.
MANSERVANT
Oh, no, Master!
CERVANTES
Take them, take them I say. Only leave me—(
Clutching the package to him
)—this.
(THE DUKE
adroitly snatches the package from him, tosses it to
THE GOVERNOR
,
who catches it and weighs it in his hands
)
THE GOVERNOR
Heavy! (
Shrewdly
) Valuable?
CERVANTES
To me!
THE GOVERNOR
We might let you ransom it.
CERVANTES
I have no money.
THE GOVERNOR
How unfortunate. (
Tears it open; angrily
) Paper!
CERVANTES
Manuscript!
THE GOVERNOR
Still worthless.
(
He strides toward the fire with the intention of throwing the package in
)
CERVANTES
(
Desperately
) Wait! You spoke of a trial. By your own word, I must be given a trial!
THE GOVERNOR
(
Hesitating; then peevishly
) Oh, very well. I hereby declare this court in session! (
CERVANTES
and the
MANSERVANT
are shoved into an improvised dock, and the “court” arranges itself
) Now, then. What are you here for?
CERVANTES
I am to appear before the Inquisition.
(
There is a stir among the
PRISONERS
,
one or two of whom cross themselves
)
THE GOVERNOR
Heresy?
CERVANTES
Not exactly. You see, I had been employed by the government as a tax-collector …
THE GOVERNOR
Poet, actor,
tax-collector?
CERVANTES
A temporary thing to keep us from starvation.
THE GOVERNOR
How does a tax-collector get in trouble with the Inquisition?
CERVANTES
I made an assessment against the monastery of La Merced. When they wouldn’t pay, I issued a lien on the property.
THE GOVERNOR
You did
what
?
MANSERVANT
He foreclosed on a church.
THE GOVERNOR
But why are
you
here?
MANSERVANT
(
Dolefully
) Someone had to serve the papers.
(
With his thumb he indicates himself
)
THE GOVERNOR
These two have empty rooms in their heads!
CERVANTES
The law says treat everyone equally. We only obeyed the law!
THE DUKE
Governor, if you don’t mind,
I
should like to prosecute this case.
THE GOVERNOR
Why?
THE DUKE
Let us say I dislike stupidity. Especially when it masquerades as virtue. Miguel de Cervantes! I charge you with being an idealist, a bad poet, and an honest man. How plead you?
CERVANTES
(
Considering a moment
) Guilty.
THE GOVERNOR
Bravo!
(
He rises, crossing toward the fire once more
)