Man of La Mancha
Man of La Mancha
Closed 2h 30m London: West End
44% 1 reviews
44%
(1 Rating)
Positive
0%
Mixed
0%
Negative
100%
Members say
Disappointing, Dated

About the Show

Kelsey Grammer makes his West End debut in this 1960s Broadway musical about love and adventure.

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Critic Reviews (9)

London Theatre
May 1st, 2019

A lumbering show has its moments of familiarity as “The Impossible Dream” pops up again (and again), but mostly the dream that's impossible is to make it feel alive and relevant today.
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The Guardian (UK)
May 1st, 2019

Even Danielle de Niese’s fine voice can’t save ENO’s out-of-sync commercial collaboration – no matter how many times they play The Impossible Dream.
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The Telegraph (UK)
May 1st, 2019

Grammer, though, kinda gets the last laugh, earns his spurs. Critical drubbings or otherwise, Frasier’s many fans will still want to catch him – striving, as it were, to reach the unreachable star.
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The London Evening Standard
May 1st, 2019

While Grammer captures well the Don’s melancholy nobility, it’s not the sort of charismatic lead performance necessary to anchor a show in a venue like the Coliseum...He sings adequately, although he fails to make standout anthem The Impossible Dream reverberate in the way it should.
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Time Out London
April 30th, 2019

Producers Michael Linnit and Michael Grade don’t make a convincing case for reviving it: a mismatched celebrity cast and a by-numbers production mean that contemporary relevance, like chivalry, really is an impossible dream.
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WhatsOnStage
May 1st, 2019

But it's not enough. Man of La Mancha hasn't been performed professionally in London since 1968. It can now return to the museum.
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The Stage (UK)
April 30th, 2019

So, despite the starry casting of this really patchy production – it is odd watching Kelsey Grammer and Nicholas Lyndhurst side by side...what sustains most interest is simply the curiosity factor.
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The Times (UK)
May 1st, 2019

Here all the stops are pulled out but, despite the commitment of the ENO orchestra, the result is a misfire. It says much that only a giant staircase, constantly lowered in James Noone’s metallic design, was moving.
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