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Theatre: Man of La Mancha
''I am I, Don Quixote,
The Lord of La Mancha,
My destiny calls and I go
And the wild winds of fortune
Will carry me onward,
Oh whithersoever they blow
Whithersoever they blow,
Onward to glory I go!
Miguel De Cervantes as Don Quixote in the opening number.

A 1965 musical based on Don Quixote, or more precisely, the man behind Don Quixote, author Miguel De Cervantes. One day, he and his faithful manservant are unexpectedly arrested by The Spanish Inquisition. As they await trial, their fellow prisoners put them on trial. With all of his possessions on the line, De Cervantes decides to put on a show as his defense. Care to guess which one?

With a little imagination, the dismal dungeon is transformed to rolling hills, as Cervantes and his servant — now none other than Don Quixote and Sancho Panza — set out in search of grand adventures and other derring-do. As they play at their routine, other prisoners take up roles suggested of them. In particular, the angry Aldonza, the Miss Yo-Yo Knickers of the "town," attracts Quixote's interest, and he rechristens her Dulcinea, his noble lady, upon the spot. She is less than amused, but can't help but be intrigued by his idealism... Meanwhile, back at the homestead, the relatives of Alonso Quijana fret about how to save their reputation from the mad fool who's running around the country trying to joust windmills.

Part of what makes the musical noticeable is the use of the Show Within a Show being the actual meat of the play. Watching a silly play about a crazy old man and a hooker with a heart of gold is fine in and of itself, but seeing a cell full of corrupt nobles, thieves, and murderers getting lost with themselves in character as they dance around their cell as gypsies makes for a Crowning Moment of Funny and Crowning Moment of Heartwarming.

There was also a 1972 film version starring Peter O'Toole and Sophia Loren.

This show features examples of:

  • Alternate Character Interpretation: Instead of an insane fool to be mocked as in the original novel, The Man of La Mancha's Quixote is a largely positive character whose adventurous spirit and idealism are a laudable thing in a harsh and cynical world. invoked
  • Artistic License - Religion: Although setting "I'm Only Thinking of Him" in a confessional, where Alonso Quijana's niece and housekeeper lament in harmony, apparently not aware of the other woman's presence, is a good bit of staging for a comic number, it's not accurate. Catholic priests aren't allowed to hear more than one confession at a time, and certainly not at the time the play is set in.
  • Badass Boast: The reprise of The Impossible Dream provides possibly the best one in the entire show. It's bittersweet, as it soon turns into a Dying Moment of Awesome.
    Aldonza/Dulcinea: My Lord! You are not well...
    Quijana/Don Quixote: Not well? What is sickness to the body of a Knight-Errant? What matter wounds? For each time he falls, he shall rise again and WOE TO THE WICKED! Sancho!
    Sancho: Here, Your Grace!
    Quijana/Don Quixote: My armor! My sword!
  • Badass Creed: Come on! See the opening quote.
  • Badass Baritone: Don Quixote himself.
  • Bad Girl Song: "It's All the Same", and "Aldonza".
  • The Barber
  • Break the Cutie: The muleteers do this to Aldonza by gang-raping her. Then, she sings "Aldonza" to try and break Don Quixote as much as she has been broken. And then "The Knight of the Mirrors" just breaks him completely.
  • BRIANBLESSED: In one of his earliest roles, no less. He plays Pedro, the Head Muleteer, in a role that is actually quite menacing and subverts his usual brand of performance.
  • Broken Bird: Aldonza, though she hides it with all her might.
  • Celibate Hero: Don Quixote, sworn to "love, pure and chaste from afar."
  • Cloudcuckoolander: Don Quixote.
  • Crapsack World: Everyone in the world is angry and cynical.
  • Crowd Song: The mocking reprise of "Dulcinea" is all the men of the chorus singing together. "Knight of the Woeful Countenance" and the Epic reprise of "The Impossible Dream" also count.
  • Darkest Hour:
    • One is for Aldonza, after being gang-raped by the muleteers.
    • Then Don Quixote himself suffers this after the Knight of the Mirrors breaks his spirit.
  • Dark Reprise: "Little bird, Little bird" is first sung by a group of men as they flirt with Aldonza (Dulcinea), and is then sung again when they rape her.
  • Daughter of a Whore: Aldonza
  • Does Not Like Men: Aldonza, with good reason, as explained in the song "It's All the Same".
  • Don't You Dare Pity Me!: Aldonza's "I Am" Song:
    Don't you see what you gentle insanities do to me?
    Rob me of anger and give me despair
    Blows and abuse I can take and give back again!
    Tenderness I can not bear.
  • Doomed Moral Victor
  • The Dulcinea Effect: Derives from the Trope Namer. Gets its own song.
    • It can also summarize pretty well the relationship between the Don and Sancho too.
  • Epic Rocking: The finale, which brings the entire cast together in the united dream.
  • Evil Sorcerer: The Enchanter (who exists only in Don Quixote's mind).
  • Follow Your Heart: "The Impossible Dream"
  • For Great Justice: Don Quixote
  • Heroic BSOD: After being confronted with his True Self, Don Quixote regresses into a sick bedridden shell.
  • Hooker with a Heart of Gold: Aldonza's heart is more like a hunk of coal, that Don Quixote manages to crush into a diamond.
  • Human Chess: Cervantes sets this up in the prison, but as a narrative device rather than a game.
  • I Am What I Am/"I Am" Song: The title song, "Man of La Mancha (I, Don Quixote)", proclaims Don Quixote's worldview.
    • And then done again in the darkest possible way with the character of Aldonza — first, "It's All the Same," and then "Aldonza," where she declares bitterly that she is nothing but a hateful, unwanted, absolutely unlovable whore and she deserves nothing better.
  • Imaginary Friend: In one production this troper saw, Aldonza is not acted out by a cellmate, she simply appears on stage when they start acting, and vanishes when their performance is interrupted — leading to a heartwarming symbolism when, in the finale, when the story is done, she still stays on stage and sings with the prisoners in their cell. As she is no longer a character in their script, but a person in their heart.
  • "I Want" Song: "The Impossible Dream".
  • Joker Jury: Cervantes is put on trial by his fellow prisoners.
  • Knighting: Played for laughs in the number, "Knight of the woeful countenance."
  • Knight in Sour Armor: Don Quixote might be this; he has a skewed perception of the world as a beautiful, marvelous place when it clearly isn't, but he indicates that, even when he knows the world is a dire mess that has little hope of elevation, he will fight on. When he converts Dulcinea to his cause, she becomes a full fledged Knight in Sour Armor.
  • May-December Romance: Don Quixote instantly fell madly in love with Aldonza. But he is pure and chaste and innocent, and also is completely unaware of how old he is. His infatuation with her manages to be incredibly endearing rather than creepy.
  • Mock Guffin: Gets its own song.
  • Mood Whiplash: The greatest and most hilarious fight scene ever between Don Quixote, Sancho, Aldonza, and a bunch of drunkards ever! Followed immediately after with Aldonza getting beaten and raped by them offstage. Which is then immediately followed by a hilarious scene between Don Quixote and Sancho running into gypsies. Which is then followed by them running into Aldonza after what happened to her.
    • The film version, by depicting the play as Quixote would imagine them, invokes Mood Whiplash by having "reality" intrude in the form of cutting back to the prison every so often.
  • Multigenerational Household: Alonso lives with his adult niece, who is engaged to be married.
  • Mundane Made Awesome: Part of Don Quixote's craziness but darn if the song for it doesn't make the barber's basin into the most epic hat ever.
  • Nice Hat: Hilarity Ensues when Don Quixote mistakes a barber's basin for a magic helmet.
  • Non-Singing Voice: Don Quixote is played by Peter O'Toole in the film version, but Simon Gilbert sang his songs.
  • Oddly Shaped Sword: Don Quixote's sword — it ends in an impressive spherical helix, though it is rather second-hand.
  • Our Acts Are Different: As written, this is a one-act show. However, it can be divided into two acts - the song "The Impossible Dream" provides a good high-pitch moment, and comes nicely in the middle, so it's a good place to cut off Act I — but some directors choose differently.
  • Rape as Drama
  • Rape Portrayed as Redemption
  • Rape Discretion Shot: Just before Aldonza is raped by the muleteers she is either carried offstage or the lights go out so the audience can't see what happens.
  • Really Gets Around: Aldonza is the town whore. She doesn't really like it, but she's good at it and it gives her some respect in the town.
  • Rule of Drama: In Real Life, Cervantes was imprisoned by the regular police because he put some public money in his pocket. Of course, throwing The Spanish Inquisition in the middle can only add real!drama.
  • Separate Scene Storytelling: The main story takes place in jail, while the Don Quixote stories are their own scenes.
  • Show Within a Show: In-Universe, the story of Don Quixote is being played by the prisoners in the jail where Cervantes is being held.
  • Silly Rabbit, Idealism Is for Kids!: This is the attitude of the Duke, and of Dr. Carrasco; the character he plays in the Show Within a Show.
  • Sliding Scale of Idealism Versus Cynicism: The musical is very much a plea for idealism. With a clear message of "It's better to be crazy and happy, than sane and miserable."
  • Streetwalker: Aldonza, who describes herself as a "kitchen slut" and "the most casual bride of the murdering scum of the earth".
  • That Man Is Dead: Played with. After Alonso Quijana/Don Quixote dies, Aldonza says:
    Aldonza: A man died. He seemed a good man, but I did not know him.
    Sancho: But—
    Aldonza: Don Quixote is not dead. Believe, Sancho, believe.
    Sancho: (in confused hope) Aldonza?
    Aldonza: My name is Dulcinea.
  • Throwing Down the Gauntlet: Don Quixote challenges a knight who insulted his lady, Dulcinea.
    • In fact, his song "I, Don Quixote" addresses the depraved world with "a knight with his banners all bravely unfurled / now hurls down the gauntlet to thee!"
  • Uncommon Time: "What Does He Want Of Me?" is in 7/8 time.
  • Wanting Is Better Than Having

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alternative title(s): Man Of La Mancha
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