"NOBODY Expects The Spanish Inquisition!"

(Left) Fine food and fine company at Ludy's!


In honor of the Dannette's birthday, and since this was a 'dark' weekend, with no DMTC shows open, the DMTC crowd decided to travel and see Woodland Opera House's production of "Man of La Mancha," starring Rodger McDonald as Don Quixote and Michelle Drever as Dulcinea.

DMTC has done "Man of La Mancha" three times, the two previous times quite recently: in 2000, with Rodger McDonald as Don Quixote and Beth Nilsen as Dulcinea, and in 2005, with Byron Westlund as Don Quixote and Lauren Miller as Dulcinea. Given the fondness of the company for the show - almost a proprietary sense - and given the certainty that Woodland would do things differently than Davis would, I steeled myself for a night of complaint, intrigue, nay, even an auto-da-fe, which reminds me of, strangely enough, of Monty Python! :

Chapman: *I* don't know - Mr Wentworth just told me to come in here and say that there was trouble at the mill, that's all - I didn't expect a kind of Spanish Inquisition.

(JARRING CHORD)
(The door flies open and Cardinal Ximinez of Spain (Palin) enters, flanked by two junior cardinals. Cardinal Biggles (Jones) has goggles pushed over his forehead. Cardinal Fang (Gilliam) is just Cardinal Fang)

Ximinez: NOBODY expects the Spanish Inquisition! Our chief weapon is surprise ... surprise and fear ... fear and surprise .... Our two weapons are fear and surprise ... and ruthless efficiency .... Our *three* weapons are fear, surprise, and ruthless efficiency ... and an almost fanatical devotion to the Pope .... Our *four* ... no ... *Amongst* our weapons .... Amongst our weaponry ... are such elements as fear, surprise .... I'll come in again. (Exit and exeunt)

Chapman: I didn't expect a kind of Spanish Inquisition.

(JARRING CHORD)
(The cardinals burst in)
Ximinez: NOBODY expects the Spanish Inquisition! Amongst our weaponry are such diverse elements as: fear, surprise, ruthless efficiency, an almost fanatical devotion to the Pope, and nice red uniforms - Oh damn! (To Cardinal Biggles) I can't say it - you'll have to say it.

Biggles: What?

Ximinez: You'll have to say the bit about 'Our chief weapons are ...'

Biggles: (rather horrified): I couldn't do that...

(Ximinez bundles the cardinals outside again)

Chapman: I didn't expect a kind of Spanish Inquisition.

(JARRING CHORD)
(The cardinals enter)

Biggles: Er.... Nobody...um....

Ximinez: Expects...

Biggles: Expects... Nobody expects the...um...the Spanish...um...

Ximinez: Inquisition.

Biggles: I know, I know! Nobody expects the Spanish Inquisition. In fact, those who do expect -

Ximinez: Our chief weapons are...

Biggles: Our chief weapons are...um...er...

Ximinez: Surprise...

Biggles: Surprise and --

Ximinez: Okay, stop. Stop. Stop there - stop there. Stop. Phew! Ah!...our chief weapons are surprise...blah blah blah. Cardinal, read the charges.

Fang: You are hereby charged that you did on diverse dates commit heresy against the Holy Church. 'My old man said follow the--'

Biggles: That's enough. (To Cleveland) Now, how do you plead?

Cleveland: We're innocent.

Ximinez: Ha! Ha! Ha! Ha! Ha!

So, beginning the evening, I was somewhat apprehensive about how the evening was going to go.

We began with a nice dinner at Ludy's, next door to the Woodland Opera House. Celtic music by Day Griffin (left) floated through the restaurant. The DMTC crowd looked forward to seeing the show, particularly since an E-Mail message from a cast member had been received earlier in the the week. The message extolled the superb quality of the cast and the orchestra, and created a favorable anticipatory buzz.


(Left) Just before curtain. Here, Steve Isaacson coverses with woodwinds wizard Paul Wurschmidt. A strange haze filled the theater. We thought a fog machine had been used recently, but none was used in the show, so the source of the haze remained a mystery. [Update: Steve says Jeff Kean at WOH has a haze machine. Maybe so. But then, why was haze necessary for this show?]

The show was quite nice. Rodger was just as I remembered in 2000: strong and vigorous. Michelle was fiery as Aldonza, and had a beautiful, gorgeous voice.

I liked the opportunity to see the 'gypsy' portions of the show (those parts had been cut from the DMTC shows). I especially liked that the show started with the gypsies. Great start! In the gypsy segment Kevin Little and Monika Neal had a fine dance. I was pleasantly surprised to see that Monika is focusing on dance. She has been attending Natomas Charter School of late, and clearly picking up useful knowledge. I particularly liked the whimsical little parade in 'Golden Helmet of Mambrino.'

My major complaint regarded the use of recorded music at selected places where an atmosphere of dread was required. The music just wasn't ominous enough, and seemed jarring and unnecessary, given the presence of a fine orchestra. Why use a recording?

Afterwards, we regrouped at Arthur and Dannette's. Steve, Lauren, and Andy came up and began tormenting me by croaking in unison, "M-A-R-C!" (it's a long story), so I pulled my coat over my head and gritted my teeth against the grating sound. Driven to madness by the endless sound, and imitating Rodger, I finally blurted (to general laughter) "My name is Alonso Quijana!" (Humor: the ultimate weapon!)

DMTC criticism regarded two general points. DMTC took seriously, raising to the point of principle even, the prison setting. That meant people and objects shouldn't enter or leave the stage, unless absolutely necessary. The lack of freedom of movement helps create the oppressive prison atmosphere.

Most DMTC people felt the prisoners and various objects were leaving and entering the stage unnecessarily. From where, and to where, could they possibly be going in a prison? Plus, stronger emphasis on Cervantes' trunk as the source of props should have been made.

But there are other ways to create an oppressive atmosphere. Woodland emphasized set design and lighting to do just that. The tall, imposing set accentuated the already tall, imposing proscenium arch of the Woodland Opera House. By allowing objects to fly in, they were able to use a confessional as a set piece - really, to me, a magical effect - but unavailable to the DMTC productions, given the stricter interpretation of what sort of movements were allowable. And (to belabor the obvious) the stage is not a prison. Can the director be faulted for taking advantage of a stage's possibilities?

The other general point regarded show direction. Certain relationships, such as that between Dr. Carrasco and Antonia, could have been developed better, given different direction. Some interconnectedness was lost at the beginning, such as when Cervantes first invites the prisoners into his imagination. Director Bob Cooner had the prisoners keep their distance from Cervantes, but a closer approach seemed called for.

But, in general, the DMTC crowd had a good time, liked the show, found much to admire about the actors, and was hardly in the mood to punish heresy. The cardinals had a soft touch for good theater, well done.

"Antonia" (Andrea St. Clair) heads home after a fine show!