Don Quixote

There can be few works of literature more daunting or more resistant to interpretation than Cervantes’s two-volume Old Castilian epic, The Ingenious Gentleman Don Quixote of La Mancha. The idea of a traditional dramatisation of such a work is almost unimaginable. Luckily, this production of Don Quijote by Tom Frankland and Keir Cooper, in association with Ultimo Comboio, and headliner of CPT’s Hard to Resist: A Short Sharp Festival of Protest, does not try.

The production does contain snippets and references to the original story; indeed, it starts with the opening of the book and a beautiful shadow sequence. The shadow-work and projections are inherently pleasing and well-executed, and returned to later on, but for now the medium is quickly switched to live performance. The secret performer of the night is revealed – a very appropriate choice, and one who is no stranger to protest. In a loose continuation of the story she must fashion herself some armour.

Like Don Quixote’s armour, there is something distinctly makeshift about this production, no doubt intentionally. It is a swirling nebulous mass of different media, deceptions and audience participation that reflects the slippery nature of its subject matter. As an audience we are kept on our toes and the production certainly does not lack in stimulation or provocation. One might question whether the ‘anarchic performance’ section is at times a little too anarchic, and a little too reliant on things going wrong accidentally-on-purpose, a technique which is almost always awkward and unconvincing.

Despite this confusion, the production has moments of complete, almost didactic, clarity. It is made explicit that Frankland and Cooper do have a very specific interpretation, or appropriation, of the story in mind. They introduce their idea of a ‘Quijote’ as a maverick, an idealist dreamer doomed to fail in his heroic endeavours due to his refusal to conform. The passion of the performers for this idea is unquestionable, but its connection to the story’s inspiration perhaps isn’t fully developed or argued.

Throughout the piece there is the distinct impression of trying to break away from the book through heavy-handed but nevertheless impressive and satisfying symbolism. Its piecemeal and anarchic approach results in a production which is unique, powerful and certainly never boring. There are moments of resonant poignancy, beautiful imagery and intelligent humour, but in its over-ambitiousness and slightly unhinged approach, there is an aspect of this production, which is, like its hapless namesake, doomed to fail.

Don Quijote is playing Camden People’s Theatre until 25 January. For more information and tickets, see the Camden People’s Theatre website.