Man of La Mancha
DescriptionInspired by Miguel de Cervantes’ seventeenth-century masterpiece Don Quixote, MAN OF LA MANCHA is one of the most successful musicals in Broadway history. Powerful, brutal, hilarious, and heartbreaking, MAN OF LA MANCHA celebrates the perseverance of a dying old man who refuses to relinquish his ideals or his passion. The celebrated score includes “The Impossible Dream,” “I, Don Quixote,” “Dulcinea,” “I Really Like Him,” “Little Bird,” and “To Each His Dulcinea.”
Music samples courtesy of Jay Records, Helena Music Co. and Scott Andrews Music
Miguel de Cervantes, aging and an utter failure in his varied careers as playwright, poet and tax collector, sits in a Seville dungeon with his manservant, awaiting trial by the Spanish Inquisition for an offense against the Church. The other prisoners set up a mock trial: if Cervantes is found guilty, he will hand over all his possessions. Cervantes agrees to do so, and offers his defense in the form of a play. Producing a makeup kit, he transforms himself into an old man who calls himself Don Quixote de La Mancha.
Quixote and his “squire,” Sancho Panza, set out to find adventures in a campaign to restore the age of chivalry, to battle evil, and to right all wrongs (“I, Don Quixote”). In their first encounter, Don Quixote spots a windmill and mistakes it for a four-armed giant. Losing the battle, Don Quixote blames the mysterious workings of his enemy, The Dark Enchanter, and decides he must properly be dubbed a knight.
At a roadside inn, which Quixote insists is a castle, several rough muleteers harass Aldonza, who works as a serving girl and, occasionally, as a prostitute. Fending them off sarcastically (“It’s All The Same”), Aldonza eventually deigns to accept their leader, Pedro, who pays in advance. Quixote sees Aldonza and believes her to be the Lady Dulcinea, to whom he has sworn eternal loyalty (“Dulcinea”). Aldonza, accustomed to cruelty, is confused and angered by Quixote’s refusal to see her as she really is.
Meanwhile, Don Quixote’s niece, Antonia, seeks advice from the local priest, who realizes Antonia and her housekeeper are more concerned with appearances than with the old man’s welfare (“I’m Only Thinking of Him”). Antonia’s fiancé, the cynical and self-centered Dr. Carrasco, sets out to end the embarrassment by bringing Don Quixote back home (“I’m Only Thinking of Him” Reprise).
Back at the inn, Sancho courts Aldonza on Don Quixote’s behalf, but she spurns Quixote’s advances. Aldonza asks Sancho why he follows Quixote, and he explains, “I Really Like Him.” Alone, Aldonza ponders the old man’s behavior (“What Does He Want of Me?”). In the courtyard, the muleteers once again taunt her with a suggestive song (“Little Bird, Little Bird”) and Pedro makes arrangements with Aldonza for an assignation later.
The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote. A barber enters, wearing his shaving basin on his head to ward off the sun’s heat (“The Barber’s Song”). Quixote immediately snatches the basin from the barber, believing it to be the miraculous “Golden Helmet of Mambrino,” which will make him invulnerable. The priest, impressed, wonders whether the old man really needs curing (“To Each His Dulcinea”).
Quixote asks the Innkeeper to dub him knight. The innkeeper agrees, but only if Quixote stands vigil over his armor all night. Aldonza, on her way to meet Pedro, encounters Quixote in the courtyard and questions him on his seemingly irrational ways. Quixote responds with his credo (“The Impossible Dream”).
Pedro enters, furious at being kept waiting, and slaps Aldonza. Enraged, Don Quixote fights Pedro and the other muleteers (“The Combat”). With luck and determination – and the help of Aldonza and Sancho – Quixote prevails, knocking the muleteers unconscious. The noise awakens the Innkeeper, who kindly tells Quixote he must leave. Quixote apologizes but reminds the Innkeeper of his promise to dub him knight. The Innkeeper does so (“Knight of the Woeful Countenance”).
Quixote announces he must help the muleteers; the laws of chivalry demand that he nurse a fallen enemy. Aldonza, whom Quixote still calls Dulcinea, is shocked, but she agrees to help them. For her efforts, she is beaten and raped by the muleteers (“The Abduction”). In his room, Quixote celebrates his new title and recent victory, completely unaware of Aldonza’s suffering (“The Impossible Dream” Reprise).
Quixote and Sancho return to their travels (“I, Don Quixote” Reprise). They encounter a band of travelers (“Moorish Dance”) who steal Quixote’s horse and Sancho’s donkey. The two men are forced to return to the inn, where the Innkeeper begrudgingly accepts them. Aldonza appears, severely bruised. Quixote swears to avenge her, but she angrily rejects him, begging him to leave her alone and bitterly flinging her pitiful history in his face (“Aldonza”).
Don Quixote’s mortal enemy, the Enchanter, appears in the form of the “Knight of the Mirrors.” He attacks and taunts Quixote, forcing him to see himself objectively, as a fool and a madman. Don Quixote collapses, weeping. The Knight of the Mirrors removes his own helmet – he is really Dr. Carrasco, returned with his latest plan to cure Quixote.
Cervantes announces that the story is finished, at least as far as he has written it, but the prisoners are dissatisfied with the ending. They prepare to burn his manuscript when he asks for the chance to present one last scene.
At home again, the old man who once called himself Don Quixote is dying. Antonia, Carrasco, Sancho, the housekeeper, and the priest all wait by his bedside. Sancho tries to cheer him up (“A Little Gossip”). The old man claims that he is now sane, remembering his knightly career only as a vague dream. Acknowledging that he is now dying, he asks the priest to help him make out his will. As he begins to dictate, Aldonza forces her way in. She has come to visit Quixote because she can no longer bear to be anyone but Dulcinea. When he does not recognize her, she sings to him (“Dulcinea” Reprise) and reminds him of his noble quest (“The Impossible Dream” Reprise). Suddenly, he remembers everything and rises from his bed, calling for his armor and sword so that he may set out again. (“I, Don Quixote” 2nd Reprise) But it is too late; in mid-song, he cries out and falls dead. The priest blesses the body (“The Psalm”). But Aldonza believes Don Quixote will live on: “A man died. He seemed a good man, but I did not know him… Don Quixote is not dead. Believe, Sancho… believe.” When Sancho calls her by name, she replies, “My name is Dulcinea.”
The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript, his unfinished novel, Don Quixote de la Mancha. As Cervantes and his servant mount the staircase to go to their impending trial, the prisoners, led by the woman who played Dulcinea, sing “The Impossible Dream.”
MAN OF LA MANCHA
Written by Dale Wasserman
Music by Mitch Leigh Lyrics by Joe Darion
Original Production Staged by Albert Marre
Originally Produced by Albert W. Selden and Hal James
Such credits for all purposes shall be in a type size equal to that of any other credits except for those of the producer and star(s) above the title. No star may appear above the title of the play without the Licensor’s prior written approval, to be exercised in the Licensor’s sole and complete discretion. The credit for the authors shall be in a type size at least 75 percent of the size of the title of the play; and wherever the name of one of the authors appears, the other name(s) shall also appear. In the programs, the credits shall appear on the title page thereof.
The title page of the program shall contain the following announcement in type size at least one-half the size of the authors’ credits:
MAN OF LA MANCHA
is presented by arrangement with
TAMS-WITMARK MUSIC LIBRARY, INC.
560 Lexington Avenue, New York, New York 10022
1 Reed I – Flute (I) and Piccolo (I)
1 Reed II – Flute (II) and Piccolo (II) NOTE: The Reed II part is optional.
1 Reed III – Oboe
1 Reed IV – Clarinet (I)
1 Reed V – Bassoon and Clarinet (II)
2 Horn I & II
2 Trumpet I & II
1 Trombone I (Tenor)
1 Trombone II (Bass)
1 String Bass
2 Guitar I & II (Spanish) NOTE: This part includes all Stage Guitar music.
1 Timpani (2 pedal or 3 hand-tuned Drums)
Floor Tom Tom
Temple Blocks (or 2 Wood Blocks)
Larger Floor Tom Tom
Piano-Conductor’s Score sent with the rehearsal material. (There is no Piano in the orchestration)
1 Piano Conductor’s Score
1 Prompt Book with Vocal Parts for Director
27 Prompt Books with Vocal Parts for Cast
Optional Additional Materials
1 Stage Manager’s Guide
Sound cue: Inquisition Theme (mp3)
(5 female; 6 male)
Aldonza — Dulcinea
Antonia — Alonso’s niece
Fermina — Moorish Girl dancer
Maria — innkeeper’s wife
Housekeeper — employee of Alonso
Miguel de Cervantes (Don Quixote and Alonso Quijana)
Sancho Panza — manservant
Dr. Sanson Carrasco — Antonia’s fiancé and Knight of the Mirrors
Captain of the Inquisition — played by a prisoner
Governor — played by a prisoner
Duke — played by a prisoner
Four Attendants to the Knight — played by prisoners
Seven Muleteers: Jose, Tenorio, Paco, Juan, Anselmo, Pedro and a Guitar Player — prisoners
Men of the Inquisition
The original Broadway production had a cast of 23 performers, including chorus. Doubling was employed, including as indicated above.
MAN OF LA MANCHA played for 2,328 performances in New York at the ANTA Washington Square Theatre and on Broadway at the Martin Beck, Eden and Mark Hellinger Theatres starring Richard Kiley and Joan Diener. Kiley and Diener repeated the success at the Vivian Beaumont Theatre in 1972, and the show has since been revived on Broadway several times, most recently in 2002 for 304 performances at the Martin Beck Theatre with Brian Stokes Mitchell in the title role and Mary Elizabeth Mastrantonio as Aldonza (Dulcinea). The show played for 253 performances in London at the Piccadilly Theatre.
5 Tony Awards for Musical, Composer and Lyricist, Director, Scenic Designer and Actor
The New York Drama Critics Circle Award for Best Musical
The Outer Critics Circle Award for Production