By Jason Crawford Samios-Uy
Approx. Running Time: 2 hours and 30 minutes with one intermission
We all need an escape sometimes. Life isn’t fair and can be quite hard to deal with, so, we all have our own little defense mechanisms to help us get through. Sometimes, folks actually get lost in their escape and it’s hard to come back to reality. However, who has it worse? The person lost in his or her escape or the people out here in the real, hard world? In Third Wall Production’s latest offering, Man of La Mancha by Dale Wasserman, with Music by Mitch Leigh and Lyrics by Joe Darion, we are able to take a peek into one man’s madness and/or bliss, whichever you want to all it, as he imagines a world much better than the one he’s actually living in. His dreams aren’t his escape… they’re his reality. This production is Directed by Mike Zellhofer, with Music Direction by William Zellofer, and Choreography by Timoth David Copney-Welton.
In a nutshell, in case you’ve never heard of Man of La Mancha (which might be impossible), it is inspired by Miguel de Cervantes’ 17th century novel, Don Quixote, but only inspired by. Man of La Mancha is a play within a play where Cervantes himself, as well as other prisoners who are awaiting the Spanish Inquisition, perform the story of the “mad” knight, Don Quixote, who is actually an old, dying man refusing to let go of his ideals and passions.
Lance Bankerd as Don Quixote. Photo: Stasia Steuart Photography
The Scenic Design by Jordan Hollett and Pat & Amy Rudai is impeccable. The creativity and attention to detail is wonderful and, though it’s a unit set, allows itself to fit into every scene with the addition of small set pieces. It’s practical yet pleasing on the eye, making for a great combination. The motorized door/ramp is quite impressive and adds value to the production as a whole. Kudos to this team for their innovative and charming design.
Lighting and Sound Design go hand in hand and Jim Shomo (Lighing Design) and Charles Hirsch (Sound Design) hit the nail on the head with this production. Both Shomo and Hirsch are masters of their crafts and both Lighting and Sound Design helped move this production along subtly, without hindering or taking attention away from the action. Shomo has a distinct knack for mood lighting and setting the mood for each scene beautifully, while Hirsch adds just the correct amount of effects without overloading and keeps the balance just right. Both Shomo and Hirsch are to be commended for their efforts.
Maggie Flanigan takes on Costume Design and it is on point. Flanigan has a great comprehension of this piece and wardrobes the ensemble to the nines. Each character whether ensemble or featured is appropriately and splendidly dressed, adding to the authenticity and fanciful nature of the show. She’s done her research and has created a wonderful design that is to be applauded.
Timoth David Copney-Welton, a Baltimore theatre fixture, takes on Chorographer duties in this production and he knows his ensemble and helps them shine. Though not heavy choreography, it is entertaining and helps tell this classic story. Innovative and creative, the choreography is a joy to watch and every single ensemble member seems to be having a blast performing it. Along the same lines, Music Direction by William Zellhofer is top notch. With such familiar music and songs, Zellhofer has this cast in tight harmonies and the featured performers are well-rehearsed and spot on. Copney-Welton and Zellhofer both give great showings in their admirable work on this production.
Mike Zellhofer takes the helm of this production and it’s clear he has a tight grasp on the material. His staging of this piece is engaging and keeps the audience interested. The transitions are smooth and simple keeping the pace balanced. The characters come to life and his vision is apparent in every move and scene. It’s always challenging to take on Direction of such a popular, classic piece, but Zellhofer faces it head on and creates an enjoyable, clean, and polished piece that makes for a delightful evening of theatre.
Jessica Preactor as Aldonza. Photo: Stasia Steuart Photography
Moving on to the performance aspect of this production, it’s worth noting that every ensemble member, whether featured or not, is giving the utmost effort in their roles. They all work quite well together and each has a hand in helping move the story along nicely.
To name a few, Timoth David Copney-Welton as Padre and Annmarie Pallanck as Sancho both have a great understanding of their characters and their objectives. They are charming as a quirky priest and a fiercely loyal servant. Copney-Welton plays Padre with just enough sincerity to make the role funny and he seems to embody this character. His rendition of “To Each His Dulcinea” rings throughout the theatre and is a joy to experience. Pallanck is, at times, a little stiff and scripted, but still oozes the charm and giddiness of the character that makes her likeable from the get. Her performance of “I Really Like Him” is both funny and sincere at the same time making for a beautiful moment. Both give strong, admirable performances in this production.
A highlight of this production is Jessica Preactor, who takes on the role of Aldonza/Dulcinea, the young woman to whom Don Quixote takes a shine, and she hits the ground running. Vocally, she’s a powerhouse with a strong, clear voice that resonates and her performances of her featured numbers such as “It’s All the Same,” “What Does He Want of Me,” and “Aldonza” are picture perfect, just as her character work is, really getting to the nitty-gritty of the character and presenting her beautifully.
The standout in this piece is definitely Lance Bankerd, who tackles the role of Miguel de Cervantes/Don Quixote. Bankerd’s character work is second to none. He becomes this character in both manner and look with ease. Watching him, he seems to actually transform from Lance Bankerd into Don Quixote and it’s awesome to watch. One thing I really admire about Bankerd is his ability to act out a song. His vocals are marvelous, indeed, but he’s not worried about a perfect vocal performance and that’s what makes a good actor great. His renditions of the standard “The Impossible Dream” is outstanding, strong, and heartfelt. This performance is almost worth the price of admission! He knows what he’s singing about and exudes it with every word and note, same with his other featured numbers, including the lovelorn “Dulcinea.” Major kudos to Bankerd for his fine work in this production.
This is what I thought of Third Wall Productions’ production of Man of La Mancha… What did you think? Please feel free to leave a comment!
Man of La Mancha will play through November 17 at Third Wall Productions, St. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.
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In all my years in theatre I have seen countless theatre companies produce Joseph & the Amazing Technicolor Dreamcoat. I myself have been involved in numerous productions of Joseph and each time I am amazed at the creativity that directors and actors bring to the stage. Each production that I have seen and been a part of has attempted to spruce up the familiar tunes, scenes, and characters, usually without success. Fortunately for us, 
When you attend the show, I encourage you to spot the absolutely hilarious props! See if you can find the cheeseburger beret and the razor scooter. The creative team really came together and provided the Baltimore theatre scene with a great production of Joseph. That being said, no show will ever be perfect– as a professional theatre teacher and director I know this. All we can do is ask that the actors put their everything into a role and hope that it works out. Despite some minor criticism, I would consider this production a success. This is definitely a production that you would not want to miss.
The moment I walked into the theatre, something felt different. I’ve been to several productions at Just Off Broadway and the first thing I noticed was that the pit had been moved. When the overture began, I immediately knew that the creative team had made the right call. Under the direction of Patty Delisle, the orchestra’s first notes brought back so many memories for me of waiting anxiously behind the curtain for an entrance. Andrew Vida is also to be commended for his creative light design. I can say with confidence that I have not met a more professional high school student (and I teach high school). He attends Calvert Hall College High School and hopes to pursue technical theatre once he graduates this coming year. Unfortunately, the issues with the microphones took me out of the performance at times. No theatre company is immune to technical difficulties. I recall a time when the microphones completely stopped working during a production that I was involved with. Due to the microphone issues, it was hard to hear every single line and note.
Unless you are familiar with the story of Joseph, it is somewhat hard to follow. The person I came with had never seen Joseph before and was constantly asking me to clarify what was happening on the stage. The chorus was too overpowering when a soloist was taking the lead and the orchestra volume was too intense during certain scenes. One thing that I enjoyed was the ability of the actors to blend their voices together. The harmonies during “Close Every Door” were perfect to the point of giving me goosebumps. I can look past the technical errors to a degree because the entire cast was not only vocally capable, but proved itself able to pull me back into the story with their intoxicating harmonies. While preserving the professionalism and style of the original work, Just Off Broadway has preserved its meaning as well. “Close Every Door”, while Joseph, played by Josh Schoff, is singing the famous lyrics of Tim Rice, “I do not matter. I’m only one person”, words that certainly resonate with anyone who has ever felt alone, cast members turn their back to him, symbolizing his complete neglect and loneliness.
As the cast made their way onto the stage during the overture, it was easy to see which actors were genuinely invested in their role. Most of them were, but a few actors seemed distracted. One great challenge as an actor is to be completely immersed in their character. Jason Crawford Samios-Uy, Chris Thomas, B. Ever Hanna, and Kate Forton were a few of my favorites throughout the performance. Their facial expressions, crisp clear vocals, ability to harmonize, and overall pizzazz on stage kept me engaged and entertained throughout the performance. I legitimately laughed out loud when Hanna and Forton were performing “One More Angel”, they are truly a dynamic duo. Also worth a “ention is the falsetto voice from Micah Rufsvold, which was used both for comedic relief as well as musical entertainment. 
There are lots of reasons to see this show, but the “One More Angel” number really takes the cake. It’s also worth mentioning and the effervescence of Elton Knupp as the Narrator, who skillfully and beautifully keeps the action moving on stage while telling the story with confidence and on point vocal ability.
Despite the small stage, the choreography was effective, creative, and enjoyable. Katie Gertsmeyer is to be commended for her fantastic skill as a choreographer. Each movement appeared natural for the characters, easy enough for all cast members to perform, and yet still appeared complex. The cast obviously worked extremely hard to pull off some of the choreography. One dancer in particular stands out in my mind. Samantha Jednorski, featured as Mrs. Potiphar, was one of the highlights of the performance. Jednorski has been involved in theatre for years; her expertise in the theatre realm shines through. Her facial expressions, reactions, and vibrant attitude was a true pleasure to witness. Speaking of cast members talent, I was extremely impressed by B’Jion Wright, Naphtali and the Butler, As someone who directs shows at a high school level, the first thought that ran through my mind when I saw her take the stage was, “Wow! This is a perfect example of an actress who has all the essential components to be successful! I wish my students could see her on stage!” Wright has the presence about her; total investment in her character and the skills to make it happen. I was also extremely impressed by Patrick Jay Golden’s performance as Pharaoh. Despite the simple costume, his characterization is what sold me on his solo. I even had the privilege of touching the hand of Ramessess *swoon* when he came into the audience to keep theatre goers on their toes.
The Book by Quiara Alegria Hudes flows nicely and keeps the chronology of a few days with natural, unforced dialogue. The smooth timeline makes it easy to follow and the dialogue keeps the action engaging. Music by Erin McKeown is appealing and contemporary with good hooks that will have you humming as you leave the theater. Great arrangements and an apt ensemble enhances an already great score. Lyrics by both Hudes and McKeown are good, in general, but are a bit too on the nose for my liking at times. Some of the lyrics could have been regular dialogue, but we would have missed out on the beautiful music McKeown has created, so, it’s a compromise, in a way. Overall, the entire piece, Book, Music, and Lyrics is constructed splendidly and is an important, polished, work that makes the audience think, and that can never be a bad thing in theatre.
Choreography by Alex Perez is frenetic, but once you get used to the style, it begins to make more sense. This piece doesn’t strike me as a piece that needs heavy choreography, but Perez seems to be trying to make the best of it, to a fault. Simply put, there’s just too much going on at one time in certain parts of this production and the ensemble, doesn’t seem 100% comfortable with the choreography choices, but… as it goes in theatre, not everyone is a dancer. However, this isn’t to say Perez’s work was bad, because it wasn’t, maybe just misplaced. I’m wondering what a less choreographed production would look like – not void of choreography (it’s a musical for God’s sake), but maybe minimal choreography might be more beneficial.
Music Direction by Tiffany Underwood-Holmes is impeccable. Working with an already wonderful score, Underwood-Holmes has presented this material beautifully. She has a tight grasp on the modern style of this piece and has guided her musicians and ensemble confidently into superb performances and presentations of this score. The orchestra should be applauded as well, for their efforts in bringing this story to life through the music. The orchestra is consisted of: Daphne Benichou (Viola); Zack Branch (Basses); Frank Carrol (Drums/Percussion); Soojin Chang (Violin); Mary Ann Perkel (Cello); Diego Retana (Guitars); and Tiffany Underwood-Holmes (Conductor/Keyboards). Hats off to Underwood-Holmes for a job quite well done.
To name a few, Michael Mediros as Mo, a gay veteran, and Raphael Nash Thompson as Higgins, his long-time lover and companion are a sort of comedic relief, and boy, do they know their roles. Both actors have a tight grasp on their characters and the humor that is required of them. Mediros’ portrayal of Mo, a gruff Vietnam veteran with a heart of gold, is authentic and charming making him likable from the start. In the same vein, Thompson’s portrayal of Higgins, an equally gruff, old-timer with a big heart, is also believable and his stage presence is strong. Both are confident in their roles and their chemistry makes the experience all the more authentic and both Mediros and Thompson are to be applauded for their work.
Ceasar F. Barajas takes on the charming role of Manuel, a gentlemen that Olivia and Beatriz happen to encounter on their journey who happens to sell tamales out of a cooler. Barajas makes this character absolutely likable and you feel for him instantly. He portrays the role with a delicacy and gentleness that pulls the audience in. He knows his character and the things he’s gone through and emotes that with every gesture and word. His vocal stylings are impressive, as well, especially his stylings of featured numbers, the reminiscing “Tamales” and the New Orlean’s inspired “The Dirtiest Dead.”
Lastly (but not least), Lorraine Velez takes on the role of Beatriz, the loving, if not flawed mother of Olivia, who is trying to do the best she can with her circumstances and she is the standout in this production.. At first glance, you might think you recognize Lorraine Velez… I most certainly did. Being a huge fan of the television show Dexter, my eyebrow definitely raised my eyebrow, but… after a closer look at the program, I realized I wasn’t looking at the actress who played one of my favorite characters on one of my favorite television shows, but… I was looking at her twin sister and, I’ve got to say, I’m just as enthralled with Lorainne Velez as I was with her sister a few years back. Velez can certainly carry her own and she plays this role divinely and skillfully. From the moment she walks onto the stage, she becomes this woman and doesn’t falter once. She’s confident and comfortable in this role and has no hesitation in any part of her performance. Her delivery of the dialogue is natural and authentic and every move she makes just makes this character more believable. When it comes to vocals, Velez does not disappoint. Her performances of her featured numbers such as the opening “(Prayer) Lioness” is inspiring, “Over My Shoulder,” is thoughtful, and the fun, energetic “Dance With Me” will have you toe tapping at your seat. Beatriz is a tough character in the way that you don’t know if you like her or dislike her, but you seem to be rooting for her and Velez has this understanding and portrays her near perfectly.