A repertory warhorse fights new battles
Not many musicals can be proud of the enduring stature of Man of La Mancha, translated into over 40 languages and regularly performed internationally. Since its Broadway premiere in 1965, Dale Wasserman, Mitch Leigh, and Joe Darion’s Tony Award-winning piece, inspired by Miguel de Cervantes and his 17th-century novel Don Quixote, has been a touchstone in the championing of idealism amidst harsh realities. Repertory Philippines (REP) alone has presented it in 1987 and 2005, posing the challenge of finding new relevance in a work whose central message, encapsulated in its most popular song—dreaming the impossible dream—has become a karaoke cliché. For REP’s latest production, director Nelsito Gomez succeeds in making this theatrical warhorse feel new and surprisingly urgent once again.
Curtains open to a chain link façade in the grim confines of a prison during the Spanish Inquisition. Cervantes (Nonie Buencamino) transforms his fellow prisoners into actors for his play Don Quixote, the aging knight-errant who refuses to surrender his ideals of honor, justice, and beauty. Gomez deftly foregrounds the tension between cruelty and imagination, mirroring how storytelling itself becomes an act of resistance.
Buencamino delivers a performance of remarkable intelligence and emotional depth, crafting a character that isn’t merely eccentric but one whose apparent madness springs from profound moral convictions. His transitions between playwright and knight are seamless, and his rendition of The Impossible Dream emerges not as a birit show-stopping anthem, but as a deeply personal declaration of faith, his restraint making it even more powerful.
Marvin Ong as Quixote’s squire Sancho Panza is just as compelling, providing an emotional anchor as he brings warmth and sincerity, never losing sight of the character’s unwavering loyalty. His chemistry with Buencamino provides much of the show’s humanity, creating a heartwarming friendship that grounds the musical’s lofty ideals.
Katrine Sunga’s Aldonza captures the barmaid’s hardened nature without sacrificing vulnerability, showing a gradual transformation under Quixote’s steadfast belief in her worth as Dulcinea. More than just a simple journey from degradation to redemption, she reveals a woman wrestling with the possibility that she deserves something better than what the world has served on her plate.
As Carrasco and the Duke, Alfredo Reyes skillfully provides a counterpoint to Quixote’s idealism, carrying a quiet authority as he embodies the forces of cynicism and social order that seek to crush dreams for the sake of pragmatism. Reyes makes us realize that he and the other contrarians are not monsters but individuals who have long abandoned hope.
Tarek el Tayech’s Innkeeper and Governor serve as a bridge between the knight’s fantasy and reality, one of the few willing to indulge his vision. With the voice and physique to command attention, El Tayech establishes social structure but provides humor as he “dubs” Quixote a knight—comic, touching, and profound all at once.
Mikee Bradshaw Volante lends grace and warmth to Antonia, making her a sympathetic niece who is not just a mere obstacle to Quixote’s dreams but one acting out of love and concern. Steven Hotchkiss’ Padre also believes he is acting for the knight’s welfare and the good of the community, showing compassion instead of just being dismissive.
Musically, Farley Asuncion’s direction makes the score an active dramatic force rather than background accompaniment, keeping you emotionally engaged throughout the two-hour no-intermission performance, as musical numbers feel like an extension of the character’s inner thoughts.
Julio Garcia’s set design is particularly successful. The prison’s stark austerity allows you to appreciate the transformative power of imagination, shifting fluidly between dungeon and fantasy as walls open up and modules ingeniously reconfigure, inviting viewers to participate in the act of theatrical creation alongside the performers.
D Cortezano’s lighting design complements this approach beautifully, a storytelling tool for conjuring moments of hope and transcendence out of darkness, transitioning between reality and fantasy through subtle shifts of illumination that define the porous boundary between the two worlds.
The costumes of Hershee Tantiado balance historical texture with theatrical functionality, with designs and colors distinguishing different social worlds.
What ultimately distinguishes this revival is how Gomez tells the story through the lens of today, recognizing that we live in an age marked by cynicism, division, and disillusionment, so that Quixote’s insistence on seeing the world not as it is but as it could be acquires renewed resonance. By embracing the musical’s enduring humanity, REP has crafted a revival that feels both timeless and timely. In doing so, this venerable warhorse finds itself fighting new battles—and winning them.
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Man of La Mancha is running at REP Eastwood Theater until June 28. Follow @repertoryphilippines.
