Man of La Mancha remains an inspiring musical for all time. This production, with a magnificent, ponderous yet airy expressionistic set by Paul Brown and magical lighting by Paul Gallo, starts with acting on the level of Children's Theater, with lines declaimed. Pretty dull, until a bit of theatrical magic when they create horses out of scraps, Brian Stokes Mitchell opens up his pipes, and it's a musical! About Mary Elizabeth Mastrantonio as Aldonza -- there's something almost obscene to see this sweet, very pretty, somewhat classy woman trying to play the slovenly whore (even if she does reveal a heart of gold). Also -- pardon me -- but I have the weird idea that a leading lady in a musical should really be able to sing. (Ms. Mastrantonio gives it a valiant try.) The production is really two shows: one in which people stand and speak or sing, and another when the dynamic choreography by Luis Perez takes over the stage with exciting, muscular, energetic action. Although Mitchell, one of the finest singers on Broadway, comes through as an actor towards the dramatic conclusion, his performance is a bit stiff and formal, without being bitten by the antic muse to float it. Ernie Sabella as Sancho gives us the only lightness in the show, and I particularly liked Mark Jacoby as the priest. Director Jonathan Kent has it all hooked together, but it lacks leavening. Yet, by the end, it's still a powerful show with great songs by Mitch Leigh and Joe Darion.
