The Coliseum seems to be becoming my venue that encourages me to take risks and choose to see shows that wouldn’t normally be on my radar; I was last there back in January where I saw Notre Dame de Paris during its limited run.When it was announced that Man of La Mancha would be playing then, I was inclined to book tickets for two reasons: I was only familiar with two of the songs, and the cast featured some of my favourite theatrical faces!

Debuting in 1965 on Broadway and winning five Tony’s, Man of La Mancha is adapted from book writer Dale Wasserman’s 1959 teleplay I, Don Quixote, which was inspired by the life of Miguel Cervantes and his 17th century novel Don Quixote. Revived numerous times on Broadway and first performed on the West End in 1968, this production marked the first West End revival in over fifty years.

It’s the late sixteenth century: Miguel Cervantes and his loyal servant await trial by the Spanish Inquisition charged with foreclosing on a monastery. Thrown into a dungeon, the other prisoners attack Cervantes, eager for the belongings in his trunk. A sympathetic prisoner suggests a mock trial in order to pass the time. Charged with being an idealist and bad poet, Cervantes pleads guilty but asks if he may offer a defense. Thus begins a play within a play where the prisoners are the cast. Cervantes transforms himself into Alonso Quijano, an elderly gentleman who becomes so enamored by tales of chivalry and injustice that he’s driven mad. Renaming himself Don Quixote, he sets out alongside his loyal “squire” Sancho Panza as a knight errant in search of adventure. Along the way, he meets the lady Dulcinea and pursues “The Impossible Dream…”

I mentioned this in an earlier blog of mine, but on the basis of score alone, West Side Story is my idea of perfection: I just adore the melodies and how everything fits together. I had much the same reaction to Man of La Mancha; I found Mitch Leigh’s score sumptuous and full of personality; I loved all the harmonies and nods to Spain in the guitars and all the other instruments, played and conducted beautifully by the orchestra and David White. Lyrically it has moments of wit and warmth that really made me smile, but this is one show where I definitely prefer the music – I found it more memorable and left humming rather than singing!

The Coliseum is an absolutely stunning building, but what’s struck me both times is how vast and cavernous the stage is; the challenge then, is a balancing act of filling the space without it becoming too cluttered. James Noone’s set design is striking: a dilapidated dungeon, the walls scrawled with graffiti with props a plenty, but what I really loved were the backdrops accented with Rick Fisher’s lighting design – we got gorgeous sunsets and starry night skies. The level of detail in the costumes (Fotini Dimou) was astonishing, albeit I found the contemporary costumes during the prison sequences quite jarring given the setting.

There’s strong work from a talented and committed ensemble, Eugene McCoy in particular shone as the Duke/Dr Carrasco, as did Minal Patel as the Padre. In the surprise of the day for me, Nicholas Lyndhurst cut an imposing figure as The Governor, and was thoroughly likeable as the tipsy innkeeper.

For me though, the biggest draw for wanting to see the show were the three leads, so a word or two on them to close! Unlike most of the people (I suspect anyway!) who saw this show, I hadn’t seen a single episode of Frasier, though I of course knew of it by reputation. Then, a few years ago I discovered the 2010 Broadway Cast Recording of La Cage Aux Folles featuring Kelsey and a firm favourite of mine, Douglas Hodge. Kelsey’s voice pleasantly surprised me there, and he did moreso live. Sure, there were points where he got a little out of breath during the songs and so his vocal wasn’t as powerful as it might’ve been, but that took nothing away from a charismatic performance. He gave Don Quixote a warmth and tenderness that I wasn’t expecting, and that particularly made his rendition of “The Impossible Dream” all the more poignant.

Kelsey was joined by Peter Polycarpou as Sancho Panza, bringing with him all the charm and humour I’ve come to know and love him for. The pair played off each other well and Peter made the most of every joke, even the ones that didn’t quite land – thanks in full to the sometimes clunky writing rather than Peter’s comic timing!

I booked for this particular Saturday in order to see Cassidy Janson in the role of Aldonza/Dulcinea, the role she was alternating with Australian soprano Danielle de Niese. I’d only seen Cassidy previously in the role of Carole King, so it was a joy to see her again here- Aldonza is spirited and fiery and Cassidy’s rendition of “It’s All The Same” was an absolute highlight, even if the accent the character had seemed a bit of an odd choice. There’s a scene in which she is set upon by a group of taunting muleteers that makes for uncomfortable viewing, but it’s a real pleasure watching Cassidy play the bitter side of her character who longs for Don Quixote to see her for what she is in light of that; she’s wonderfully expressive and nuanced throughout.

There were some mixed reviews out by the time I came to the show, with many citing how dated it feels. Me personally: I try always to take a show for what it is, and enjoy the escapism; though of course it’s great when a piece still resonates today. I love the classics, even when they’re a little rough round the edges, as this one was and I’m incredibly grateful the team at the Coliseum continues to show these rarely seen gems as it’s likely the only chance I’ll get to see them!