Man of La Mancha (2002 Broadway Revival Cast)
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CD Details
Composer: Stephen BogardusEdition: Music CD
Format: Cast Recording
CD Release Date: 2003-01-07
Music Label: RCA Victor Broadway
Soundtracks:
- Opening (Olga Merediz with Don Mayo, Brian Stokes Mitchell, Stephen Bogardus)
- Man of La Mancha (I, Don Quixote) (Brian Stokes Mitchell, Ernie Sabella)
- It's All the Same (Mary Elizabeth Mastrantonio, Muleteers)
- Dulcinea (Brian Stokes Mitchell, Muleteers)
- I'm Only Thinking of Him (Natascia Diaz, Olga Merediz, Mark Jacoby with Brian Stokes Mitchell)
- We're Only Thinking of Him (Stephen Bogardus, Natascia Diaz, Mark Jacoby, Olga Merediz)
- I Really Like Him (Ernie Sabella with Mary Elizabeth Mastrantonio)
- What Does He Want of Me? (Mary Elizabeth Mastrantonio)
- Little Bird, Little Bird (Bradley Dean, Gregory Mitchell, Muleteers)
- Barber's Song (Jamie Torcellini)
- Golden Helmet of Mambrino (Brian Stokes Mitchell, Ernie Sabella, Jamie Torcellini, Muleteers)
- To Each His Dulcinea (To Every Man His Dream) (Mark Jacoby with Stephen Bogardus)
- The Impossible Dream (The Quest) (Brian Stokes Mitchell)
- Knight of the Woeful Countenance (Don Mayo, Mary Elizabeth Mastrantonio, Ernie Sabella with Brian Stokes Mitchell)
- Aldonza (Mary Elizabeth Mastrantonio with Brian Stokes Mitchell)
- The Knight of the Mirrors (Stephen Bogardus & Brian Stokes Mitchell) (2:12)17. I'm Only Thinking of Him (reprise) (Orchestra)
- A Little Gossip (Ernie Sabella with Mark Jacoby)
- Final Sequence: The Death of Alonso Quijana; Dulcinea (reprise); The Impossible Dream (The Quest) (reprise); Man of La Mancha (I, Don Quixote) (reprise); The Psalm (Mary Elizabeth Mastrantonio, Brian Stokes Mitchell, Ernie Sabella, Mark Jacoby)
- Finale (Mary Elizabeth Mastrantonio, Mark Jacoby, Bradley Dean & Company with Frederick B. Owens)
Music reviews of Man of La Mancha (2002 Broadway Revival Cast)
Music Review: Another Disappointing La Mancha
Rating: 1 Stars
This version of La Mancha is another disappointment. I haven't seen this ensemble live, so I can't make that comparison. I am however assuming that the physical assumption of the roles by these performers is much more engaging in person, as they were probably picked for the way they look as much as how well they sing.Instead of the beautiful overture, they decided to have some woman moaning and screeching to a Spanish guitar accompaniment. It sounds vaguely "Spanish", and I assume it was to give the recording some exotic flavor, but this does not continue and the performers sound blatantly American from the beginning. Whatever possessed the producers to decide to throw out the marvelous overture and replace it with this oragasming woman is beyond me, but it sounds misplaced since there is nothing Spanish or exotic about the rest of the performance. In fact, the performers' pronunciation of the few Spanish names and words is unintentionally hilarious.
The orchestra sounds congested as recorded, with little detail revealed. The conducting is prosaic, dry, and with little feeling for shape and texture of the musical writing. It's all very "matter-of-fact" with almost no excitement.
Stokes Mitchell's voice doesn't have the amplitude, reach, or sense of mystery or madness that the role requires. He sings in a pop-gospel style that is totally inappropriate to the mood of the piece. His "Dream the Impossible Dream" is a travesty. He milks the ending with an unconvincing key change worthy of Barry Manilow in order to "wow" the audience, presumably with his one or two good high notes (or what, for him, are high notes). But he turns the piece into an "America The Beautiful" vocal showcase instead of trying to interpret the song for what it is. His baritenor simply doesn't fill out the music and his spoken dialogue verges on the inane. I refuse to believe Stokes Mitchell was the best person to audition for this role.
Mastrantonio is clearly overparted as Aldonza. She sounds whiney, bored, and diffident throughout most of the piece. Her technique isn't up to the job--she sings all the notes, but with no room to spare. Interpretation is not a word that can be applied to her performance, except in Don Quixote's death scene where she is more "alive" for the first time, and he adds a bit of power and emotion into her singing; she finally shows what she could have done with the role had she tried. She falls into all the vocal traps the composer sets for this role--traps set to show the desperation and vehemance of the character. Unfortunately, her desperation is her own and doesn't emerge by artistic choice.
Sabella is another miscast character in this dreadful production. The role sounds too high for him and he shouts for emphasis. He's unmusical and not funny at all.
The rest of the cast sounds small-scaled and amateurish. The Inn-keeper's voice sounds scarily damaged and the Padre sounds worn.
It's a shame the current emphasis in music theater is for the performers to be "triple-threats" (singer/actor/dancer), because this has apparently diluted the talent down to a minimum standard when it comes to vocal display. I can only assume these performers bring something more to their live performances that sadly does not come across on recording.
This CD set can easily be bypassed. Acquire the original cast recording to see how hypnotic and intriguing this music can sound with professionals.
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