Kenny Rogers Christmas & Hits

With Special Guest B i l l y   D e a n
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WATERFORD-HALFMOON HIGH SCHOOL
SELECT CHOIR & LOCAL CHILDREN to SING
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Thursday, December 22, 8:00 pm
The Mainstage at Proctors

Schenectady, NY – December 7, 2011 – The Bank of America/American Tradition Series at Proctors brings the sweetly raspy vocals of a true American classic, the iconic Kenny Rogers, to the Mainstage at Proctors on Thursday, December 22. Special guest BILLY DEAN will accompany Mr. Rogers.

A successful Country Music singer, showman, photographer, record producer, actor and entrepreneur, Rogers sounds like no one else. He inhabits each song, making it vivid and tangible. For five decades, the Grammy Award-winning Rogers has delivered memorable songs like “Lady”, “Islands in the Stream,” and “The Gambler,” drawing fans from many different backgrounds. When one singer makes such an indelible mark, that's not mere luck or even simple talent.

“STILL A CONSUMMATE ENTERTAINER AND STORYTELLER
AFTER 40-PLUS YEARS IN THE MUSIC BUSINESS,
KENNY ROGERS MAKES LISTENERS FEEL
LIKE THEY’RE RIGHT IN HIS LIVING ROOM.” –U-Entertainment

“I really, really love what I’m doing,” Rogers says. “People survive longer if they love what they’re doing. Because you just don’t quit.”
Earlier this year, Rogers celebrated another new chapter in the remarkable career of this music legend and international icon with the release of his first inspirational gospel album, The Love Of God. Rogers, one of music's legendary voices, has put his indelible stamp on classics like "Will The Circle Be Unbroken," "I'll Fly Away," "Amazing Grace" and "In The Sweet By And By."  The album has received rave reviews.

Rogers is busy at work writing his autobiography, which is slated for a fall 2012 release.

About Billy Dean
Billy Dean (“Somewhere in My Broken Heart,” “Let Them Be Little”) has recorded three Gold albums that have generated 20 hit singles on the Billboard country chart, including 11 Top Ten hits. Dean reached Number One in 2000 as one of two guest vocalists on Kenny Rogers' "Buy Me a Rose.”

Dean’s latest album, Earning Our Place On Earth, sponsored by Naturipe Farms, is a project dedicated to America’s produce farmers.
 

Local Students Perform with Kenny Rogers
The 32-member WATERFORD - HALFMOON HIGH SCHOOL SELECT CHOIR, directed by Eric Nelsen, will perform with Kenny Rogers.

In addition, Mr. Nelsen is directing six local children -- Christina Bell, Claudia Fountain, Zoe Gleason, Dan Norris, Jack O’Brien and Thomas Phelan -- from WATERFORD-HALFMOON ELEMENTARY SCHOOL. They, too, will sing with Kenny Rogers at the December 22 event at Proctors.  

Local choirs and children have been prominently featured in Rogers’ Christmas show for several years and the 2011 Christmas & Hits Tour – the 30th anniversary of his Christmas tour – is no different.  Rogers has said one of his favorite parts of the Christmas show is to sing with local choirs and children on each stop of the tour.
 
Several children who have performed on Kenny’s Christmas tour in the past have gone on to do great things – Emmy Award-winner Sean Hayes (Will & Grace), Rosa Blasi (The Bold and the Beautiful, General Hospital), Laura Woyasz (the Glinda stand-by in Wicked on Broadway), and BNA Records Recording Artists The Lunabelles (Arciero sisters) among many others.   
 
Their success was a "next step" from an opportunity presented to them from an early KENNY ROGERS CHRISTMAS & HITS show.  Rogers is proud to involve local talent in each market – choirs and children – and is happy to see those who have performed with him in his Christmas show over the years accomplish great things.

Running time for KENNY ROGERS CHRISTMAS & HITS is 80 minutes, plus one intermission.

Tickets Available Now
Tickets for KENNY ROGERS CHRISTMAS & HITS are $20, $35, $45, $55 & $70 and available at Proctors Box Office, (518) 346-6204 or online at proctors.org.

Significant discounts on tickets are available for groups of 20 or more.  A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139.

The December 22 performance of KENNY ROGERS CHRISTMAS & HITS is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Free Parking for KENNY ROGERS CHRISTMAS & HITS is available in the Broadway Garage, courtesy of the Times Union. Go to timesunion.com for news and entertainment.

Contact
For more information on WATERFORD-HALFMOON HIGH SCHOOL SELECT CHOIR, contact Eric Nelsen, 7-12 Vocal Music, Waterford-Halfmoon Union Free School District, (518)237-0800; enelsen@whufsd.org, 518.796.6582.
 

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Bebe Neuwirth will grace the Mainstage at Proctors on Jan. 14.
The buzz has begun…

Bebe Neuwirth talks 'Stories With Piano' cabaret show
by Kerry Lengel - Oct. 8, 2011 03:19 PM

The Arizona Republic
Don't expect a string of amusing anecdotes when Bebe Neuwirth settles into the spotlight. In her cabaret-style "Stories With Piano," the stories are the songs.

Read all about it:

Kenny Rogers "Christmas and Hits" will play at Proctors on December 22. Tickets still available. 

Here's what they're saying in Milwaukee about this American icon....

Kenny Rogers brings hits to Milwaukee for Christmas

Robert Gustafson

Milwaukee Concert Photography // Examiner

November 30, 2011

Photos from Kenny Rogers performance in Milwaukee,WI 11.27.2011 Credit: Robert D Gustafson - www.RobGustafsonPhotography.com

I am prefacing this review by saying that this will most likely be one of the hardest reviews that I have had to write in my young review career.  I say this purely based on the fact that I do not have the pure connection with Kenny and his music like many people older than myself do. As I grew up neither of my parents were big fans of Kenny's music, and being 27 years old I did not grow up in a period when his music dominated the radio waves like in the 70's. 

Also this might be one of the most honest and unbiased reviews I have written so far, based purely off of the show experience and what I was privileged to be a part of. Prior to this show I knew of this music and of this hits, but who doesn't? This man is a true American music legend and I was honored to be there to witness him live.

I arrived at the Riverside Theater in downtown Milwaukee after a slight walk in the brisk air. The entire time thinking to myself that I was soon to be photographing an American music Icon. I was completely unsure of what to expect from the evening to come.

After a slight mix up with my photo pass and some help from fellow photographer and friend John Schulze, I was standing up front and stage left talking to Gene Roy,Kenny's tour manager. I must say that I surprised by some of the words that were being spoken to me, " First two songs at the stage, then shoot all night from your seat". In the short time I have been doing this it is normally made very clear that you can photograph the first 3 songs and you are done. This is typically a very strict rule and enforced heavily. Allowing us to photograph all night was nothing short of a class act my any means. Kudos to you Mr. Roy and Mr. Rogers.

Kenny's show this evening in Milwaukee was to be split into two parts. First half of the evening was going to be his hits and what he has been known for. The second half of the evening he was going to sing some of the most well known Christmas songs of all time.

To start the evening there was no time wasted at all. The band took the stage and with in seconds Kenny Rogers took the stage. He was greeted by a large roar and round of applause from the lively crowd in the Riverside. This group was raring and ready to see the man that they had all come to see. He began his first set with We've got tonight. We've got tonight is from his eleventh studio album by the same name. This song was originally a duet with Sheena Easton was the debut single and became one of Rogers' signature hits, soaring to #1 on the country charts and #2 on the Adult Contemporary chart, reaching #6 on the Hot 100 chart.

For his next song he played It's a beautiful life, followed by many other hits from his career. For those of you that have never seen his show live, he is very active with the crowd during the show. Taking out time to joke and talk to individuals in the crowd. Even at one point stopping to ask the right side of the theater if they knew the words to the song, stating that when he performed in Vietnam the crowd there did a better job of signing long and they didn't even speak English.

As he went down through his list of hits he was joined on stage by his good friend and fellow performer Billy Dean. The two performed together for numerous songs, at all times smiling and showing you the truly terrific time they have performing together.

While Mr. Rogers was performing I was anticipating one of the songs I was most familiar with, The Gambler. When he started to sing this iconic song, everyone knew immediately what it was and let out an excited gasp. I was truly in awe the entire time this song was played. This song is considered to be one of the greatest songs written, and I was seeing it performed live in front of me. I could tell from the look on other peoples eyes that they had the same sediment as myself. It was something that was truly special and is something that I will not forget for a long time to come.

Kenny finished out the set with Islands in the stream. A song originally written by the Bee Gee's and performed by Rogers and Dolly Parton. It was released in August 1983 as the first single from Rogers' album Eyes That See in the Dark and the second pop number-one for both Rogers and Parton (Rogers having been there with 1980's "Lady" and Parton with 1981's "9 to 5"). This track had become so popular that it was sampled in many other songs, which included (part of) the chorus from the 1998 hip-hop hit "Ghetto Supastar (That Is What You Are)" by Pras (which also featured Ol' Dirty Bastard and introduced singer Mýa).

after taking a slight break to get things in a Christmas mood, Billy Dean took the stage to the iconic piano music from snoopy. The crowd was treated to a video of select audience members signing Christmas songs prior to the show. It was quite comical to watch to say the least.

Christmas is a very special time of the year for children. This was made very clear by Billy Dean. He had children from the area come on stage to help him sing a few songs. It was fun to watch young children up on stage doing so well with being in front of a large crowd. Shortly after a few songs Mr. Rogers joined them back on stage dressed in a dark blue blazer and red pocket square. From there they went on to sing many Christmas classics like , Chestnuts roasting on an open fire, White Christmas, Santa Claus is coming to town, Silent night, and many more.

Towards the end of the evening he was joined on stage by a large choir and finished off the evening evening with their help. It was nothing short of a sight to see. Like I had mentioned earlier, previously I did not have a connection with the music like the vast majority of the audience did. But I did truly enjoy his performance. He is still every bit of an entertainer as he ever has been and did not disappoint in Milwaukee. It was truly a pleasure to be able to see him perform live.

Jason Henke | Kenny Rogers Productions/Vector Management | 615.329.2303 | jason@vectormgmt.com

Schenectady, NY – November 21, 2011 -- Revving up classical music with a whirlwind of fingers on five pianos is the brilliant 5 Browns , a quintet of siblings with an inspired energy that has delighted audiences worldwide. The 5 Browns arrive at Proctors on Tuesday, December 6 for one performance only.

The 5 Browns deliver on their dream to wake up classical music by introducing it to the widest, largest and most excited audience they can find. Whether performing individually or together in various combinations from duo to complex five-piano arrangements, The 5 Browns reveal a deep connection to the intent of their material while bringing a fresh energy and dynamic character to the color and tonal spectrum of their sound.
For this special holiday show, these five siblings will masterfully play

a wide range of yuletide favorites, from Tchaikovsky's The Nutcracker Suite to Bach's Ave Maria, with a few modern surprises.

The 5 Browns – Ryan, Melody, Gregory, Deondra and Desirae – attended New York’s Juilliard School. In fact, they became the first family of five siblings ever accepted simultaneously. The quintet enjoyed their first wave of critical attention in February 2002 when People magazine dubbed them the “Fab Five” and at about the same time they were featured on Oprah and 60 Minutes.

The 5 Browns have released 3 CDs, each of which went to #1 on Billboard Magazine’s Classical Album Chart.
The New York Post proclaimed: “One family, five pianos and

50 fingers add up to the biggest classical music sensation in years…when these kids do Rachmaninoff, they’ll make you forget
about Marshall amps.”

This quintet has garnered extensive coverage from media outlets ranging from The Tonight Show with Jay Leno, Good Morning America, Today, and The View to The Martha Stewart Show, Public Radio’s Performance Today, as well as The New York Times, Parade, People, the Los Angeles Times and the Sunday London Telegraph. Entertainment Weekly called The 5 Browns “…five young Mormons who all play scorching piano. Thundering down on five Steinways together, they’re button-down cute and somewhat otherworldly.”

The 5 Browns tour extensively and have performed in numerous venues including the Grand National Theater in China, Suntory Hall in Japan and, in the United States, The Kimmel Center in Philadelphia, Symphony Hall in Chicago and Alice Tully Hall in New York City In addition to touring,

The 5 Browns are published writers. Their book, Life Between the Keys was published by Phoenix Books in March 2009. They also are featured in a new PBS TV special, “The 5 Browns In Concert” that is airing on PBS stations throughout the country.

The 5 Browns are exclusive Steinway Artists.

The 5 Browns Holiday Show at Proctors runs for 110 minutes, including intermission.

Tickets on Sale Now

Tickets for The 5 Browns Holiday Show at Proctors on Tuesday, December 6 at 8 PM are $20, $30, $34 & $38. Tickets are available at Proctors Box Office, (518) 346-6204 or online at proctors.org .

Significant discounts on tickets are available for groups of 20 or more. A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139.

The 5 Browns Holiday Show at Proctors is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties.

A Little Ooky

by Shawn Stone on December 1, 2011 · 0 comments
BY MARSHALL BRICKMAN AND RICK ELICE, MUSIC AND LYRICS BY ANDREW LIPPA, DIRECTED BY PHELIM MCDERMOTT AND JULIAN CROUCH PROCTORS, THROUGH DEC. 4

You can’t kill cartoonist Charles Addams’ bizarre characters. You can bend them and twist them for various media, but their inner nature shines through.

In its finest moments, the newish musical version of The Addams Family, the road company version of which opened Nov. 29 to rapt cheers and a standing ovation at Proctors, gives us Addams’ characters in all their warped, wicked glory.

Most of these lovely scenes are in the second act. The plot’s been churned through, and the macabre menagerie show off what makes them special in a series of musical showstoppers.

There are the matriarch and patriarch, Morticia (Sara Gettelfinger, appropriately deadpan) and Gomez (Douglas Sills, appropriately ardent), renewing their passion with a delicious tango in a graveyard in the moonlight. Uncle Fester (audience favorite Blake Hammond), deliriously insane, sings a charming song of love to the moon. Morticia cheers herself up with the notion that death is “Just Around the Corner.” Wednesday (Cortney Wolfson) and her boyfriend (Brian Justin Crumb), like a deranged Annie Oakley and Buffalo Bill, try to prove that each is nuttier than the other in “Crazier Than You,” which comes complete with a William Tell scene.

In addition to the living Addams clan, the chorus consists of a dozen white-faced “dead” Addamses, who liven things up nicely.

The entertaining and effective character songs of the second act go a long way toward making up for the surfeit of plot that clogs the first. During the intermission, a patron sitting near me said to her companion, “This is a lot like the last show we saw here.”

I had to stifle a laugh, because this perceptive lady had of course hit on it exactly. Two crazy kids from very different backgrounds fall in love, and struggle to move their very different families toward harmony so that a happy ending—a wedding—can happen. It’s La Cage Aux Folles redux, which is You Can’t Take It With You redux. So Wednesday begs Gomez not to tell Morticia the truth about Lucas, who also hasn’t told his parents about the hoped-for nuptials, and this secrecy upsets Morticia, who can tell something is wrong, and upsets Pugsley, who already misses being tortured by Wednesday.

Even if one grants that they needed some kind of plot to contextualize the characters, one does not have to accept so much of it.

As for the music, the only song that’s not fun is “Full Disclosure.” The term “full disclosure” is legalese—true weasel words—and should not be in The Addams Family lexicon. That it is the name of an alleged Addams family tradition (and the Act 1 closer) defies logic.

Because Morticia’s character is left out of the machinations that power the farce, that leaves Douglas Sills, as Gomez, with the Herculean task of holding our interest through every plot twist. He does this wonderfully. It’s a tough role, in part because other actors (John Astin and Raul Julia) have created indelible conceptions of Gomez; Sills makes the character his own.

Proctors: presenting, creating
Schenectady theater part of company that creates musicals
By TOM KEYSER, Staff writer
Published 11:25 p.m., Wednesday, November 30, 2011

When "The Addams Family" opened Tuesday at Proctors, it delivered the first return on investment to the Schenectady theater, which five years ago helped form the company that created the show.

In 2006, Proctors became a partner in Elephant Eye Theatrical, an unusual company because it includes 15 theaters from across the country and Canada. They work with Elephant Eye CEO Stuart Oken, a former executive at Disney Theatrical Productions, to create new musicals.

"The Addams Family" was their first production to open on Broadway, and now it's the first Elephant Eye show to play at Proctors. If it weren't for Proctors' involvement in Elephant Eye, says Philip Morris, Proctors' CEO, Capital Region theater-lovers wouldn't have the chance to see the show now.

After all, he says, "The Addams Family" is still playing on Broadway. And it began its national tour a mere six weeks ago. The musical comedy's six-day run here elevates Proctors' standing nationally as not only a presenter of theater but also as a creator of it.

"It's a great feeling that we were participants in creating this thing," Morris said.

The Capital Region will continue to benefit from Proctors' participation in Elephant Eye, Morris said. Proctors and perhaps even Capital Repertory Theatre in Albany (Proctors manages CapRep's administrative functions) will present more Elephant Eye productions in the future, he said.

But that isn't the main reason Proctors invested $150,000 in Elephant Eye and joined forces with Oken and theaters in such cities as Atlanta, Boston, St. Paul, Tampa and Toronto, Morris says.

"I wanted Proctors to become integrated into the creation of work," he says. "We are always in the position of hoping, praying for good product. There never seems to be enough. The opportunity to participate in helping add to that basket of options seemed pretty important to us."

And the opportunity to work with Oken increased the appeal, Morris says. As executive vice president at Disney, Oken co-developed and co-produced "Aida" and "The Lion King."

He left Disney in 2003 to form his own company. After talking with executives at theaters around the country, he decided to include them rather than rely solely on private investors. Now, he says, Elephant Eye receives 40 percent of its funding from the theaters and 60 percent from investors.

"This actually makes the project more thrilling, more challenging and potentially more powerful because of what we're able to do together," Oken said. "We're in a venture that could be conceived of as purely commercial. But because musical theater and all theater by nature is rarely profitable, what we do together is, we chase dreams."

Elephant Eye works to produce only original musicals, assembling the creative team and then overseeing the process. Musicals are the only theatrical form that can make a lot of money, Oken said. But blockbusters are rare – maybe one every couple of years, he said. And a musical can take three to seven years to create.

"Creating new musicals is one of the most difficult things a person can do," he said. "It's a process that is a completely inexact science. You're trying to build something that often defies perfection. That's why they often say musicals aren't written, they're rewritten."

That's what happened with "The Addams Family." Even though it featured Bebe Neuwirth and Nathan Lane when it opened on Broadway in April 2010, it received a scathing review from the New York Times. Still, it will have lasted 21 months on Broadway when it closes on New Year's Eve.

That might have been the end of it if Elephant Eye had been a traditional production company with only private investors focused on the bottom line, Morris said. But the theater executives were more sympathetic to the creative process, he said, and gave the go-ahead for a rewrite. Oken's production team strengthened the narrative, and the show that's on the road is different from the one on Broadway and receiving positive reviews.

"'Addams Family' is an example of something that's worked pretty well for us," Oken said. "It didn't work as great as we might have hoped, but we're in the process of opening it in South America and Australia and England, and there are licenses going to Asia and Scandinavia.

"We continued the creative process after Broadway because we didn't see Broadway as the end. We saw the existence of the show for all time as the end. Many shows never get the chance to do that."

The first musical Elephant Eye created, "Saved," based on a 2004 movie about a Christian high school, didn't make it to Broadway. Now, the company has three musicals in development, including one about Bruce Lee and another about the role of physical beauty in our world.

Morris says that despite the longevity of "The Addams Family," Proctors has not earned back its $150,000 investment — and doesn't expect to anytime soon. The investment was in the company and multiple shows, not just "The Addams Family."

"It's an investment in the business that we're in," he said, "an investment in a long-term project. That means that Proctors, potentially, will have the opportunity to be engaged in this kind of creative conversation for the next 10, 20, 30, 40 years."

Reach Tom Keyser at 454-5448 or tkeyser@timesunion.com.

Read more here

The Addams Family @ Proctors, 11/29/11
November 30, 2011 at 12:37 am by Michael Eck

http://blog.timesunion.com/localarts/the-addams-family-proctors-112911/19776/

By Michael Eck
Special to The Times Union
SCHENECTADY – You won’t have to leave your memories at home if you visit “The Addams Family” at Proctors. And that’s a good thing.

The musical comedy is based on Charles Addams’ actual cartoon panels for the New Yorker, rather than having its roots in subsequent adaptations. So, here and there there are knowing winks to John Astin, Raul Julia, Jackie Coogan and Ted Cassidy, but overall this show operates on its own terms.

A major part of the entertainment of any Addams adaptation has been the clash between high culture, low humor and the goofily macabre. That clash in full flower here, not just in the text of Marshall Brickman and Rick Elice’s book, but also in the songs of Andrew Lippa, with titles like “Crazier Than You” and “Move Toward the Darkness.”

Douglas Sills plays patriarch Gomez with way too broad an accent, but that’s OK. He’s playing it big for the back wall. Sara Gettelfinger rocks her dress, cut as Gomez notes, “down to Venezuela,” so hard that one assumes she’s playing for the back wall, too.

The couple has a delightful energy together, especially once she’s mad at him.

They sing well together and separately. Sills’ solo on “Not Today” is a knockout, while Gettelfinger’s “Just Around the Corner” is silly fun.
The thrust of the story concerns daughter Wednesday’s engagement with Lucas Beineke, a “normal” middle class kid. When Wednesday asks the family to behave for a meeting with Lucas’ parents all heck, mayhem and bedlam break loose.

Cortney Wolfson, as Wednesday, shines on “Pulled.”

Another part of the joy of Addams adaptations are the special effects. Much of that here is left to the inspired genius of puppet master Basil Twist. Cousin It makes a crowd-pleasing appearance at the top of Act Two, but other moments of magic — you’ll have to see the show to get them — are more satisfying.

Uncle Fester’s (Blake Hammond) love affair with the moon, for example, drew huge applause at Tuesday’s opening.
All the production elements are top-notch, with Natasha Katz’s lighting and Julian Crouch and Phelim McDermott’s scenic and costume design contributing to the goofy/eerie effect.

There are some surprisingly intimate scenes in “The Addams Family,” but the evening doesn’t lack for dazzlers.
“Tango de Amor,” with Gomez and Morticia rekindling their romance in a big way — dancing amidst graveyard ghouls — is especially impressive. So is the tripartite “Full Disclosure” section, which closes Act One and features Crista Moore – as Lucas’ mother, Alice — in a star turn during the “Waiting” midsection.

Proctors, through its involvement with Elephant Eye Theatrical actually has a stake in “The Addams Family.” It’s good to see the venue’s efforts pay off.

THE ADDAMS FAMILY
Performance reviewed: 8 p.m. Tuesday
Where: Proctors, 432 State Street, Schenectady
Running time: 2 hours, 20 minutes; one intermission.
Continues: 8 p.m. Wednesday through Saturday; 2 p.m. Thursday, Saturday and Sunday. Through Dec. 4.
Tickets: $20-$70
Info: 346-6204; http://www.proctors.org

ALBANY, NY (WAMC) - Elephant Eye Theatrical is a production company - formed with the goal of identifying, developing, financing and producing new musicals for Broadway, National Touring and Licensing to venues around the world. Joe speaks with Elephant Eye CEO and Producer, Stuart Oken and Proctors CEO - Philip Morris.
© Copyright 2011, WAMC

Follow link to listen to taped broadcast:

http://www.publicbroadcasting.net/wamc/news.newsmain/article/231/0/1879654/The.Roundtable/Elephant.Eye.Theatrical

http://metroland.net/2011/11/22/better-for-this/

Better for This

by Kathryn Geurin

Man of La Mancha, the Tony Award-winning musical classic of Impossible Dreams currently on stage at Capital Repertory

Better for This
by Kathryn Geurin on November 22, 2011 · 0 comments

Man of La Mancha
By Dale Wasserman, lyrics by Joe Darion, music by Mitch Leigh, directed by Maggie Mancinelli-Cahill Capital Repertory Theater, Through Dec. 17

Rating: 0 (from 0 votes)

Photo by Joe Schulyer

Man of La Mancha, the Tony Award-winning musical classic of Impossible Dreams currently on stage at Capital Repertory Theater, finds author-actor-tax-collector Miguel Cervantes and his manservant tossed in a dungeon by the Spanish Inquisition for foreclosing on a monestary. Upon their arrival, the dingy amalgam of murderers and thieves already imprisoned attacks the duo and puts them on mock trial to fight for their possessions—a steamer trunk full of props and costumes, and a manuscript. As their defense, Cervantes mounts an impromptu production, featuring his fellow prisoners as players, of his yet-unfinished masterpiece Don Quixote, the story of the knight errant, itself an imagining of his tale’s hero, Alonso Quijana.

It is an onion of a story—layer upon layer of reality, and madness and imagination blurring into some larger truth. The prisoners play actors playing characters in another rugged world, who in turn are often humoring Quihana by playing roles in his knightly fantasy. Done right, it is as funny as it heartrending, as provocative as it is inspiring. And here, Capital Rep gets it right.

While the gloriously inflated fantasy world of Don Quixote often takes center stage in Man of La Mancha, this production highlights the dim grit of reality. The fantasy comes to life in a very real way, but, in the small theater, with a spare, multitalented ensemble often performing their own accompaniment onstage, the rough stucco walls and iron-barred windows of set designer Roman Tatarowicz’s prison feel very much present throughout, the fun and splendor of the escape temporary.

The whole complex escapade is deftly staged and paced with tightly-reigned energy by director Maggie Mancinelli-Cahill, who has assembled an exemplary cast and a unified vision for her creative team. Stephen Quandt’s subtle lighting shifts between warm golden glows and icy blues and greens that carry the characters between layers of fantasy. Anna Lacivita’s simple costuming transforms tattered shifts to gowns and gasmasks into mules with onstage slight of hand.

Under the musical direction of Adam Jones, the oft-heard music is fresh and stirring, in number after number. Particular highlights are the intricate quartet “I’m Only Thinking of Him,” Act 1 closer “To Each His Dulcinea,” beautifully rendered by David Sutton as the Padre, and Christopher Vettel’s resonant and hilarious nightshirt-clad “Dubbing.”

Local Broadway vet Kevin McGuire gives a packed but humble and exquisitely human performance in a leading role that is so often a star vehicle. He balances the roles of Cervantes, Quihana and Don Quixote with a delicacy that keeps each fragile and distict, but reveals their underlying sameness with vulnerable radiance. Even the showstopping numbers are controlled and intimate in his beautiful renditions. His Cervantes and Don Quixote—and the production as a whole—shine the brighter for his restraint.

While Ann Fraser Thomas’s performance as Aldonza/Dulcinea would have benefited from a more subtle blend of her hardness and tenderness, the production’s main downfall is the muleteers, who leer cartoonishly at Aldonza, but never feel truly threatening, particularly after a Stoogesque fight scene that is the only time the show slips into broad slapstick.

It’s a modest complaint in a, for the most part, beautifully crafted production.

When, at the show’s end, as Cervantes is led into the horror of the inquisition, the prisoners raise the melody of the poet’s quest against the slamming door of oppression, this Man of La Mancha resonates with the powerful message it should: that the one can inspire the many, that art can ignite hope in the depths of despair, and that, when it does, the world will be better for this.