Man of La Mancha (2002 Broadway Cast)

by

Mitch Leigh

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I saw Man of La Mancha this weekend. It took my breath away. From what I gather reading up on it after the fact, the production did not originally get good reviews. I don't know why. The musical I saw was wonderful -- moving, beautifully sung, and superbly acted. I had only seen Brian Stokes Mitchell on television. Of course, he has a rich voice; it may not be a "big" as some others (e.g. Richard Kiley), but what really impressed me was his delivery of the songs. The nuances he brought to each phrase moved me -- sometimes, close to tears. I could not wait to buy the album. In reference to remarks made by some previous raters, I will agree that Stokes' rendition on the album does not deliver quite the same emotion as what I saw at the Martin Beck Theater. However, had I not seen him live, I would not have noticed any deficiency. It just that he was so much better on stage. Perhaps, he took note of the critics' comments and improved as a result of them; not everyone can do that. More power to Stokes. I was amazed by Mary Elizabeth Mastrontonio. She has an unusual voice for Broadway, and I think that is one of the reasons I liked her portrayal of Aldonza. Her acting was so good that I forgot who she was; she was Aldonza. Perfect. I did not know the songs that Aldonza sings as well as those by Don Quixote. So, I did not have any notion of what to expect. I can only say the her songs on the album did not disappoint me either. I say this is a great album for any fan of Man of La Mancha and the musical theater.

I would like to give this album five stars, but it neither does justice to the original nor to the current stage production, which I enjoyed. This is mainly because the CD is poorly directed, produced and recorded--as though it were done in haste. That is unfortunate, as the album does have some wonderful moments, and the stage production deserves a better legacy.

First let me say that this is an album you don't want to listen to in headphones--especially really expensive ones--because the flaws in the recording will leap out at you. There is the piccolo in "I, Don Quixote" that is annoyingly shrill, and an obvious edit in one of the numbers (I'll leave it to the listener to discover which). Worst of all, there is distortion from clipping on all of the loud passages (especially during "The Impossible Dream") which is simply inexcusable. It is as if the engineers had no idea how to set the correct level for "belters" like BSM and the woman who so spectacularly opens the show with the Gypsy number.

The poor directorial choices on the album are numerous. "Do it over" must not have been heard any time during the sessions. A dialogue coach was sorely needed, as several of the actors sound like they are reading the script for the first time (delivery ranges from merely stilted to downright amateruish). BSM's stentorian dialogue works well on stage, but is out of place here. And why does Aldonza sound like a modern New Yorker?

Then there is the singing, which is all over the map. Ernie Sabella, a credible Sancho, takes some odd breaths when he belts "I'm Sancho, yes I'm Sancho." The Muleteers sound more like a chorus from "Naked Boys Singing" than lusty vagabonds. And Mark Jacoby, who has one of the most beautiful and distinct voices on Broadway, can't seem to hit the high notes in "I'm Only Thinking of Him." It is painful to hear him reaching for the "der" in the words "I understand" among some other gaffs in the number. This is unfortunate, as the women who accompany him turn in one of the album's best performances. Why wasn't his part done over? And the choral harmony at the end of "Golden Helmet" sounds almost improvised. A couple other performances on the album are better left unmentioned.

Despite its faults, this album is not without its charms. Mastrantonio, whose singing voice can be uneven, gives a stirring and impassioned rendition of "Aldonza" that I have come to prefer to the original. Mitchell, whose glorious singing almost makes the distortion on the album forgivable, gives us a truly beautiful "Dulcinea." He also sings the hell out of "The Impossible Dream," breathing new fire into a song that had nearly gone stale. Other standouts include "Little Bird, Little Bird," and Jacoby's dirge during the final sequence. There are also some nice instrumental performances sprinkled throughout (especially the guitar).

While I certainly wouldn't give this album five stars or even four, it does have moments that redeem it from garnering two stars. It's just a pity that it doesn't fully reflect the stage production, which I'd give a solid four stars.