Last year, director Michael Michetti reportedly communicated via email with librettist Dale Wasserman (1914–2008), tweaking the book for this 1965 Broadway classic by incorporating passages from Wasserman's earlier nonmusical teleplay. Except for added material in the opening scene, most changes are subtle, almost undetectable. What makes this oft-revived musical particularly satisfying here are the performances of a magnificent cast and the visceral excitement of the staging. Michetti's vision of this literate and moving parable of a troubled society desperate for a ray of hope is simultaneously timely and timeless. Musically and dramatically, Michetti's interpretation brings thrilling new life to this show.
At the heart of this triumph is the towering performance of Brent Spiner, playing impossible dreamers: imprisoned Miguel de Cervantes, whose 17th-century Spanish novel Don Quixote de la Mancha inspired this musical, and two alter egos, the deranged Alonso Quijana and the product of his delusions, roving knight Don Quixote. Spiner delivers Mitch Leigh and Joe Darion's exquisite songs with brio and grace and eloquently illuminates this role's wide-ranging characteristics: madness, courage, folly, compassion, and more. Matching Spiner's excellence is Julia Migenes, whose fresh take on the role of kitchen wench Aldonza is a wonder to behold. Migenes' sterling voice brings out the operatic grandeur of the score, and her characterization is modulated to gradually build in intensity, allowing the spiritually bankrupt Aldonza to make a heart-wrenching journey from abject despair to renewed hope. Lee Wilkof sings terrifically and provides fine comic relief as Cervantes' manservant and Quixote's sidekick, Sancho Panza.
The supporting work is impeccable: golden-voiced George Ball as the Governor/Innkeeper; Christopher Guilmet as the conniving Duke/Dr. Carrasco; and Robert Mammana, Wendy Worthington, and Maegan McConnell in multiple roles. Likewise exemplary is the ensemble of actor-singer-dancers playing hooligans, downtrodden prisoners, and other small but important roles, adding texture and credibility to the setting. Their efforts are beautifully integrated, thanks to Kitty McNamee's vibrant choreography and Brad Ellis' resplendent music direction. Creating theatrical magic are scenic designer Tom Buderwitz's majestic set, Garry Lennon's astutely conceived costumes, and Lap-Chi Chu's atmospheric lighting. This enthralling production is a watershed achievement for Reprise Theatre Company.
Presented by Reprise Theatre Company at the UCLA Freud Playhouse, Sunset at Hilgard, Westwood. Feb. 15–Mar. 1. Tue.–Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 7 p.m. (310) 825-2101 or Reprise Theatre Company