GRASPING FOR THE IMPOSSIBLE DREAM
Throughout Southern California, there are young artists breaking bread together while dreaming of becoming a theatrical force in their own community. In the instance of Oceanside Theatre Company, the building blocks were laid a decade ago. Now, under the energetic leadership of artistic director Ted Leib, and with the active support of a dedicated board, the theatre aims to give those dreams a kick in the pants with their current foray into large scale musical theatre with MAN OF LA MANCHA. Are they heading in the right direction?
Recent top notch productions of RED and OUTSIDE MULLINGAR speak well of the theatre’s potential, even though those shows are smaller in scale. Without personal knowledge of the financials here, at least by other measures this theatre is ready for the leap. The Dale Wasserman script with music and lyrics by the Mitch Leigh / Joe Darion team offers a worthy blueprint for future success without the ponderous demands of many other Broadway properties. This production of MAN OF LA MANCHA deserves to fill many of those seats in the Brooks Theatre in order to encourage continued growth for this dynamic group.of theatre artists. To be sure, it is a quality theatre experience for the citizens of Oceanside and surrounding communities as well.
Rudy Martinez (“Cervantes” / “Don Quixote”) lends his gravitas to the committed efforts 
of this cast of 15. His talents are well known throughout San Diego in roles such as “Tevye” in FIDDLER ON THE ROOF and “SCROOGE” in A CHRISTMAS CAROL. The man serves as a lynchpin for this entire enterprise and director Ted Leib wisely taps him for this coveted role in the show which is largely ensemble driven. Rudy’s ability to embody nobility and idealism inform the entire production and reflects his aims in his own life without the trappings of a character.
On to the story. Cervantes and his devoted attendant Sancho Panza are unceremoniously thrust into a cavernous dungeon among a vast array of murderers, thieves and other unsavory types as they await justice from the Inquisition. In the meantime, they plead for their dignity (and their possessions among which is a valued manuscript). In a tribunal forced on them by their fellow prisoners, the new arrivals plead their case in the form of an entertainment reenacting the story of “Don Quixote”, a knight-errant consumed by the ideals of the code of chivalry. Of course, the story itself is loosely based on the Spanish classic novel of world literature bearing the same title. Its 1000 pages have alternately delighted and frustrated students ever since its original publication by Cervantes in 1605.
As for the other principals, Steve Lawrence gives his sidekick and squire “Sancho Panza” a whirl and hits the mark on the whole, although the balance of simpleton and devoted cheerleader sometimes falters. The other lead performance of “Aldonza”, a serving wench at a ramshackle inn they encounter on their journey, is in the hands of Tara Sampson (believe me, the name of Eydie Gorme was itching to fly from my quill pen). On opening weekend, Ms. Sampson still seems to be reaching for the hard-edged “wench” in her characterization especially in Act I; however, she handles the exacting vocal demands of Mr. Leigh’s music well.
Further, impressive in my manuscript are the featured performances of Bob Himlin (“Padre”), Taylor Magee (“Antonia”) and Olivia Pence (“Housekeeper” / “Maria”).
The heart and soul of this production, though, can only be the ensemble involving most of the cast. The power of MAN OF LA MANCHA soars or languishes with these dedicated thespians. In Oceanside their impact is undeniable thanks to the guidance of director 
Leib, the music direction of Lyndon Pugeda and the choreography of Katie Banville (with fights shaped by Emily Sperling). In most productions I review, I am rewarded when I focus on individuals in the ensemble during performance. Pleased as punch I am, therefore, to acknowledge noteworthy contributions by Timothy Cabal (“Pedro”), Jack Grable (“Anselmo”) and Jonah Duhe (Muleteer & guitarist).
Credit must be given to Oceanside Theatre Company for engaging a 6-PC live orchestra conducted by the always highly competent, animated Martin Martiarena including the veteran drummer Mike Massesa who deserves a special shout out. So many theatres try to cut corners by playing recorded music. Let me point out that any performing space has a cubbyhole somewhere to accommodate musicians. This is LIVE theatre, after all, and many thanks to OTC for acknowledging that reality.
As for the technical dimension of the show, minus a few quibbles here and there, the scenic 
work of N. Dixon Fish, with assistance from Mr. Leib, works well for this stage. The property design by Emily Sperling serves the production, too. Likewise, Kristin Drum lights the players effectively within the capabilities of the Brooks. Finally, kudos to the costume pros, Roslyn Lehman and Renetta Lloyd, who clothe these actors with distinction.
Mr. Leib assembles a worthy cast to interpret the brilliance of this Tony- bedazzled libretto. (N.B. Mr. Wasserman always has been quite vocal that the musical is based on his own teleplay “I, DON QUIXOTE” and NOT on the novel itself.) One stipulation. Not sure I agree with the necessity of altering the setting of the story by moving the time forward several centuries and relocating the action to South America. Otherwise, he deserves his own round of applause as far as I’m concerned.
When all the players gather onstage at the Finale to serenade the audience with “The
Impossible Dream”, just as Cervantes and Sancho Panza are led away to face their judgment under the scrutiny of the Inquisition, see if you agree that the moment breathes theatre magic. The show plays thru May 26, so there is still time to place it on your calendar.
pc: Ken Jacques
