MAN OF LA MANCHA at Peterborough Players

The Peterborough Players closes a record-breaking season with a production of “Man of La Mancha,” starring Scott Bakula (TV’s “Quantum Leap,” “Star Trek Enterprise” and “NCIS: New Orleans”) and his wife, Chelsea Field (best known as Rita Devereaux in “NCIS: New Orleans”), starring Cervantes and Aldonza.

The Peterborough theater is no stranger to star power, having once hosted an early production of Our Town with author Thornton Wilder in the audience and one-man shows such as Will Rogers with James Whitmore and Paul Robeson with Avery Brooks.

The theater has been in Peterborough since 1933 and is a 250-seat venue created in the “barn-turned-theatre” renovation projects that dot the New England countryside. Guests are presented with wonderful theater on a quiet campus that is off the beaten track. The seating is spacious and comfortable (There are some obstructed view seats available if you don’t mind looking around at the structures that support the barn.)

Man Of La Mancha, a popular musical released in 1965, is based on the 17th century epic novel Don Quixote by Miguel de Cervantes. It is a moving and moving story that was one of the first musicals created from a piece of historical literature set in the context of the Spanish Inquisition.

We meet author Cervantes (Scott Bakula) in prison awaiting trial. When his fellow prisoners attempt to take Cervantes’ possessions, including his manuscript, he proposes a trial in which he proves the merit of his manuscript through a re-enactment, casting his fellow prisoners as characters in his play. Together, they tell the story of old Alonso Quijana who believes himself to be a daring knight, Don Quixote, and pursues an obsessive quest to achieve an impossible dream.

Against all odds, Quixote and his trusted squire Sancho Panza (Kraig Swartz) set out on a quest to find the good and the innocent in a world filled with despair. Mad Don Quixote may think a windmill is a giant, but along the way he also transforms a wretched woman, Aldonza (Chelsea Field) into a beautiful lady.

Bakula is perfect as Quixote. Any “Quantum Leap” fan knows the man has a knack for immersing himself in a character as he did so well in his weekly series. In Peterborough, he truly becomes Quixote as a vulnerable old man inspired by his vision of trust. With an impressive musical background, (he is a 1988 Tony Award nominee for “Romance/Romance.”) Bakula confidently performs the evening’s two most moving ballads, “Dulcinea” and the show’s standard-bearer, “The Impossible Dream.” Bakula commands the stage even when placed in the background of an ensemble scene or when he is front and center. There is an engaging charm about the actor that the audience will enjoy.

Swartz is a lovable and cute character as Bakula. He has the voice of a musical theater character and seems no stranger to comedy as he enjoys the numbers, “I Really Like Him” ​​and “A Little Gossip.” Swartz and Bakula are a joy to watch, especially when they ride their steeds on barrels with intricate horse heads.

In a role that requires a demanding vocal range, Field is riveting in her portrayal as Aldonza, Quixote’s love interest, both a little playful and a little mirthful. Field shines in her numbers and is especially cute in the scenes with Bakula. One of her favorite shows is her number, “What Does He Want From Me?”

Other performers take on multiple roles in the play within a play motif.

The clever tune, “We’re Only Thinking of Him,” is melodically delightful, performed by Antonia (Angelika Menendez), the housekeeper (Victoria Adams-Zischke) and the Padre (Gabriel Rodriquez). Rodriquez is the vocal powerhouse of the trio, and his rendition of “To Each His Dulcinea” is stunning.

Kurt Zischke makes a strong impression as the innkeeper and the scene dubbing Quixote the knight is a great moment. Gus Kaikkonen adds flair to the role of the Duke, adding his melodic vocals to “We’re Only Thinking of Him”.

Patti D’Beck expertly handles the choreography, especially with the male chorus, Muletaers, and pulsating mystical dancers.

Tim Goss directed a seven-piece orchestra that captured the range of musical styles in the show, perfectly balanced with the vocals on stage.

Director Charles Morey, an icon at Peterborough Players, helms the production masterfully, with an incredibly realistic set by designer Gary English, wonderful lighting transitions by designer Kevin Frazier and a pace that works well. English’s set is perfectly detailed, with a stone wall backdrop and a grand staircase that is the centerpiece of the prisoner’s dungeon. (You could almost smell the dark, dank setting.)

The show is played non-stop and lasts one hour and 45 minutes. Morey’s direction keeps the action crisp throughout this time without lag.

While audiences may know Bakula and Field from their television work, this is a rare opportunity to see them in live theater at its best in an artsy corner of New Hampshire. Their adventure in the country at this stage is worth experiencing.

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