Review: David Pittsinger commands the stage as the ‘Man of La Mancha’

September 12, 2016 12:00 am • Last Updated: September 13, 2016 10:27 am

By Kristina Dorsey
Features Editor

Talia Thiesfield, David Pittsinger and Brian Michael Hoffman in “Man of La Mancha” at the Ivoryton Playhouse. (Photo by Anne Hudson)

David Pittsinger commands the stage as the ‘Man of La Mancha’

Here’s a wonderful opportunity for devotees of the performing arts: you can see David Pittsinger, who has sung on Broadway and on celebrated opera stages around the globe, in a rousing performance right here in southeastern Connecticut, at the intimate Ivoryton Playhouse.

Pittsinger, who grew up in Clinton and lives in Essex, is starring in “Man of La Mancha” at the playhouse, and his muscular yet eloquent voice is on impressive display. The sold-out audience at the performance I saw was positively rapturous over his rendition of “The Impossible Dream.” But Pittsinger is just as potent on the galloping “Man of La Mancha” and the lilting, romantic “Dulcinea.” And he seems to be thoroughly enjoying playing the complex character of Don Quixote, the mad knight striving to right unrightable wrongs.

For those not familiar with his previous work: Pittsinger played Emile de Becque in the Broadway revival of “South Pacific” in 2008 and in the Ivoryton Playhouse version last year. His opera credits are lengthy and noteworthy; earlier this season, he was in the world premiere of Philip Glass’s “Appomattox” at the Washington National Opera, and he starred in “Kiss Me, Kate” at the Theatre du Chatelet in Paris — to which he’ll return after the Ivoryton run of “La Mancha.”

As Aldonza/Dulcinea, the object of Don Quixote’s affection and reverence, Talia Thiesfield holds her own with Pittsinger — not an easy feat. She presents the hardened, wisecracking Aldonza; she stomps and slouches, she picks her teeth. But then she slowly cracks the character open to reveal a wounded heart and a desire for love and affirmation. (Thiesfield’s bio in the “La Mancha” program is nothing if not intriguing, as it runs from off-Broadway’s “Marie Christine” to Goodspeed’s “LMNOP” to Denis Leary’s Rescue Me Comedy Tour to Coachella with The Kills.)

And Thiesfield’s voice? Heavenly. She can power the high notes, sure, but she is just as compelling when singing softly and delicately.

“La Mancha” has a tremendous score by Mitch Leigh and Joe Darion, and the Ivoryton performers certainly do right by it. Matthew Krob, as Padre, sounds sweet and pure on “To Each His Dulcinea” and “The Psalm.” Brian Michael Hoffman, who infuses his Sancho Panza with a delightful guilelessness, brings his vocal and comic chops to the lighthearted “I Really Like Him” and “A Little Gossip.”

When this cast joins together (on, for instance, “Little Bird”), they prove the vocal equivalent of there being strength in numbers.

Worth noting on the acting front: David Edwards, who also directs this production, plays The Duke and Dr. Sanson Carrasco, and he brings such interesting nuance to these supporting characters, you wish he had more to do.

While the performances are solid, the production has some weaknesses. The pace is sometimes too languid, and the fight/dance sequences feel tentative.

But this story is a powerful one, this tale that Dale Wasserman was inspired to create by the life of writer Miguel de Cervantes and his most famous creation, Don Quixote. It’s about idealism in the face of the human condition. It’s about optimism despite knowing how brutal life can be. The tale and its message remain things of aching beauty.