Mightier Than the Windmill

The major fault of most musicals is a weak book. There are exceptions, of course, with “My Fair Lady” and “Man of La Mancha” prime examples. Based on strong, literate stories, both will be performed into the distant future.

“La Mancha” stands virtually alone because of the inventiveness of its conceit. Dale Wasserman’s book, unlike Alan Jay Lerner’s for “Lady,” artfully mixes Cervantes’ original tale with incidents from the author’s life.

The engrossing and rewarding tone poem swings between Cervantes’ imprisonment by the Spanish Inquisition and his fanciful tale of Don Quixote, illuminating Cervantes’ fiction and its meaning within the dark shadow of the Inquisition.

Director Kent Johnson, in his staging of “La Mancha” at the Huntington Beach Playhouse, brings this out by letting the script speak for itself. Johnson has shaped this revival with respect, affection and a rewarding attention to detail and shading.

The highlights of the show are Frank Minano’s decisive, intense Cervantes/Don Quixote and Daryl Mendelson’s giddy, feather-light Sancho Panza.

Minano’s rich baritone is right for the muscular Mitch Leigh melodies, and Minano’s transitions from lucid Cervantes to his cracked-mirror image, Quixote, are delicate and colorful. Mendelson’s impeccable comic touch and his lightness and wise restraint create a memorable image of the long-suffering Sancho.

The weak link in the company is April Wilson’s vocalizing as Aldonza (Dulcinea). Her voice has power and--particularly in her chest voice--richness, but the transitions to head voice seem uncomfortable, and her vibrato sometimes becomes a wobble. As an actress, though, she can’t be criticized--she’s earthy, warm and totally honest.

Edward C. Bangasser is the evil muleteer Pedro, and a fine, subtle and effective villain he is. Equally strong performances are given by Dan B. Rodgers as both the prison Governor and the harassed Innkeeper, and Ron Albertsen as the shady prison Duke and the irascible Dr. Carrasco.

Nods must also be given to Russell Montooth as the Padre and Sara Lynn Farrington as Antonia. Both sing beautifully, giving energizing freshness to Leigh’s music and Joe Darion’s powerful lyrics.

Among the production’s few failings are Kerri Rochi’s too simplistic choreography, which tends to be sweet rather than stalwart, and Bangasser’s equally hesitant fight choreography, which would be effective if it had more fire. More intense rehearsal might make these violent men seem less afraid to approach one another, swinging in the air while someone several feet away winds up knocked out cold.

* “Man of La Mancha,” Huntington Beach Playhouse, 7111 Talbert Ave. 8 p.m. Thursday-Saturday, 2 p.m. Sunday. $13. Ends March 29. (714) 375-0696. Running time: 1 hour, 50 minutes.

Frank Minano: Miguel de Cervantes/Don Quixote

Daryl Mendelson: Sancho Panza

April Wilson: Aldonza/Dulcinea

Edward C. Bangasser: Pedro

Dan B. Rodgers: Governor/Innkeeper

Ron Albertsen: Duke/Dr. Carrasco

Russell Montooth: The Padre

Sara Lynn Farrington: Antonia

A Huntington Beach Playhouse production of the Mitch Leigh-Joe Darion-Dale Wasserman musical. Produced by Ana Fluck and Bill Verhaegen. Directed by Kent Johnson. Musical direction: Bill Wolfe. Choreography: Kerry Rocchi. Fight choreography: Edward C. Bangasser. Scenic design: Bronson. Lighting design: Technical Creations. Costume design: Larry Watts-Tom Philips. Technical direction: Ed Gates Jr. Stage manager: Kirk Brown.