Man of La Mancha
Dale Wasserman
4/2011 · Random House
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Winner of the New York Drama Critics Award for Best Musical, 1966
"To me the most interesting aspect of the success of Man of La Mancha is the fact that it plows squarely upstream against the prevailing current of philosophy in the theater. That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.
"To me the most interesting aspect of the success of Man of La Mancha is the fact that it plows squarely upstream against the prevailing current of philosophy in the theater. That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.
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Dale Wasserman wrote for theater, television, and film for more than fifty years and is best known for the musical Man of La Mancha, a multiple Tony Award winner. He also wrote the stage play One Flew Over the Cuckoo’s Nest, based on Ken Kesey’s novel, which has won several Tony Awards. Both shows continue to be produced nationally and internationally with an estimated 300 productions a year.
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