Beguiled by his “crown,” Jeryl Hoover (as Don Quixote) sings of his illusory quest as John Heirholzer (Sancho Panza) and Larry Kuhlken (the Barber) look on in wonderment. The new “thrust” stage setup places the audience closer to the action. Photo by Phil Houseal

Details:
Fredericksburg Theater Company’s Man of La Mancha continues through February 28. Performances are Fridays and Saturdays at 7:30, Sundays at 2 p.m.
For tickets and information:
Online: www.fredericksburgtheater.org
Box Office: 306 E. Austin Street
Phone: 830-997-3588

webmaster: phil@fullhouseproductions.net

Thrust onto the stage

by Phil Houseal
Feb 17, 2010

I wanted to be in the Fredericksburg Theater Company’s production of Man of La Mancha. I really did. But the rehearsals, the memorizing, the makeup... I just couldn’t. But I was, anyway.

Sort of.

And you can be, too.

The newest show (it runs through Feb 28) features an innovative stage set that literally thrusts out into the audience through the first three rows of seating. Those seats have been moved to flank each side of the stage. This new floor plan is not just rearranging the furniture. The seating on the side is set up to recreate the feel of having a live jury judging the proceedings on stage.

Anyone familiar with the book, play, or movie knows Man of La Mancha is set as a mock trial of Miguel de Cervantes/aka Don Quixote, that windmill jousting fool who is thrown into prison where he is judged by his fellows. Part of the blocking includes mock appeals to the mock jury.

Sitting in the front row corner seat last Saturday evening made for a new experience in watching live, local theater.

Attending this production is how I imagine the groundlings felt standing in the dust and spit around the apron of the Globe Theater, where actors often spoke directly to the crowd, which responded lustily and bawdily (No lustiness or bawdiness from the audience the night I was there, although there was plenty on stage. There was even some spraying spit, come to think of it.).

Indeed, this arrangement has some history. According to director John Phelps, the original stage play used the “thrust” stage in its 1965 pre-Broadway run. The set up was so well-received that it carried over to the Broadway production.

“This makes it a very intimate experience,” Phelps said. “The idea is that the show is done in a pit in a prison. The thrust stage makes it a more natural kind of show - everybody is always engaged in it.”

There are challenges and benefits, as Jeryl Hoover, FTC Artistic Director who plays Don Quixote, explained.

“The challenge is to make sure everybody in the audience gets some ‘face’ time from the actors and doesn’t feel cheated,” he said. “The advantage is the total intimacy. I have the opportunity as an actor to look at people in the audience, what we call breaking that fourth wall. You bring them in immediately and they feel an intimacy about it.”

Hoover also noted that it shows off the developing Steve W. Shepherd Theater.

“I think it’s a brilliant setup. What I like about our theater space is how we can manipulate it however we need it depending on the production.”

Matt Ward - muleteer, padre, and prisoner - explained how this production puts cast and audience into a new relationship.

“As an actor, you have to be more cognizant of your position at all times,” he said. “You have to adjust the blocking and facial positions and try not to do too many lines where your back is to the audience. And when you’re singing, you have to turn to make sure you amplify the sound to all areas of theater.”

But he likes it.

“I think it’s a new perspective for people. It’s not the sort of thing you usually get to see, so this show in and of itself is a really unique experience.”