Based on I, Don Quixote, a television play by librettist
Dale Wasserman, Man of La Mancha begins with the imprisonment
of novelist Miguel de Cervantes y Saavedra during the Spanish
Inquisition. Thrown into a dark prison to await trial, Cervantes
and his faithful servant soon find themselves set upon by the
other inmates, a bloodthirsty horde of theives and murderers
who organize an underworld trial in which the new inmates must
defend themselves before "The Governor," the self-annointed
kingpin of the prison.
Being a novelist, Cervantes convinces The Governor that his
defense should take the form of an entertainment. He will present
the story of a country squire named Alonso Quijana who, overwhelmed
by the evil that men do toward men, put aside his sanity and
set out into the world as a knight errant, dubbing himself Don
Quixote of La Mancha, champion of the oppressed and righter of
wrongs. The Governor agrees, and Cervantes begins to spin his
tale, telling how Quijana left behind his family, and set out
along a great highway to glory, a road which looked, to his servant
Sancho, remarkably like the road to El Toboso where the chickens
are cheap. After a misguided attempt to do battle with a windmill,
the two men eventually stumble upon a great castle--or a small
inn, depending upon which of them you ask. The inn is populated
by a band of rough drinkers and several women of easy virtue,
one of whom Don Quixote hails as "a sweet lady and a fair
virgin" and proceeds to worship as his "Dulcinea."
Aldonza, the whore Don Quixote has chosen, doesn't know quite
what to make of this, and when Don Quixote sends Sancho asking
for a token to carry into battle, she assumes that he wants what
every man wants and angrily tosses him a dish rag. Aldonza is
intrigued, however, by Don Quixote's strange words and his gentle
manner, and when the old man successfully defends her against
a whole band of manhandling hooligans, she is finally won over
to his quest which he describes to her in song as "The Impossible
Dream."
Meanwhile, however, Quijana's family has convinced the self-important
Dr. Carrasco to retrieve their mad patriarch. Carrasco is not
so much interested the Quijana's well being as he is in the old
man's fortune, which Carrasco stands to inherit as he is engaged
to Quijana's neice. When the doctor arrives at the inn, Quijana
mistakes him for the Great Enchanter, the most dangerous enemy
of all good men. Don Quixote prepares to do battle once more,
but this time, he has no defense against his enemy's weapon--a
bright, mirrored shield in which the old man can see nothing
but his old, foolish reflection. Thus defeated, Quijana returns
home and agrees to draw up his will in his neice's favor--that
is, until he receives an unexpected guest from the inn who begs
him not to renounce "The Impossible Dream."
The Governor is impressed with Cervantes defense, as are the
other prisoners, and the novelist's crimes are forgiven. But
now the guards have returned, and Cervantes has managed to defend
himself in front of one court only to be dragged in front of
another. It has not been wasted time, however, for as he climbs
the steps out of his dark prison, he can hear the prisoners below
still singing "The Impossible Dream."
Man of La Mancha opened Off-Broadway at the Anta Washington
Square Theatre on November 22, 1965 with a cast that featured
Richard Kiley (Don Quixote), Joan Diener (Aldonza), and Irving
Jacobson (Sancho). The production was a resounding critical success,
and in March of 1968, it was transferred to the Martin Beck Theatre
on Broadway, where it continued a run which would eventually
reach 2,328 performances and go down in the record books as the
third longest running musical of the 1960's. The 1972 film version
featured Peter O'Toole, Sophia Loren, and James Coco.
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