‘Man of La Mancha’ too amateurish

The New World Globe Theatre, based at the Waterville Performing Arts Centre, made its local debut with a production of the musical “Man of La Mancha” Friday and Saturday at the Maine Center for the Arts. It was unusual fare for the facility, which has not generally opened its doors to regional community groups.

Several local dance groups and music organizations have regularly performed at the center. And, by and large, this has been a happy relationship. The stage is suited for dance, and the acoustics are suited for music — amateur or professional.

This weekend’s production of “Man of La Mancha” was the first time a community theatrical production had been mounted on the center’s stage, and there were clearly problems with the arrangement. Although the New World Globe Theatre, headed by Charles O. Blaisdell, has aspirations to be a professional organization, it is not yet at the quality level patrons have come to expect from shows at the Maine Center. From the opening scene, in which a spotlighted actor sang off-key, through to the elongated curtain call, the show never really got off the ground artistically.

Unfortunately, the inexperience of the cast was all too apparent from beginning to end. Missed cues and botched lines are certainly forgivable, but not knowing how to enunciate or how to use a mike is simply unbearable for the audience. In short, the facility was beyond the training of the New World Globe Theatre.

And that’s just the technical aspect. The show itself did not feature strong performers. Bill Haley, as Don Quixote, had a strong singing voice, but played a rather namby-pamby Don Quixote. He lacked the charisma, intensity, and nobility of a chivalric dreamer. Linda LaCroix, as Adonza/Dulcinea, was one of the stronger performers, but, as her songs were just outside her range, she was always straining to be as tough in song as she was in character.

Brian Quiron, an Augusta native and graduate of the University of Maine theater department, played Sancho and proved himself an able singer. He was sometimes funny, but frequently resorted to crowd-pleasing antics to get the laughs. Kathy Bailey, as Antonia, had an excellent voice, too, but was underplayed.

The only shining element of the production was the orchestra. Under the direction of Charles T. Milazzo, this 13-piece ensemble was sharp and lively. It was a pleasure to listen to its rendition of Mitch Leigh’s snappy music. If the theatrical element had been as strong, the production would have been laudable.

Luckily, this unwieldy production has not discouraged Maine Center Executive Director John Patches from his plan to present other community-based productions at the hall. In fact, some of eastern Maine’s most respected performing arts groups are currently being scheduled into the center’s 10th anniversary season in 1996-1997, according to Patches. The quality will be on the same level with out-of-state professional groups, he said, and added that the point is to both elevate and pay tribute to some Maine-grown performing arts.