““There is only one problem with Opera Saratoga’s terrific production of Man of La Mancha: it ran for just three performances. That’s more than enough to be grateful for in these perilous times for performing arts organizations, but the show deserves to be seen far and wide… Lawrence Edelson, Opera Saratoga’s artistic and general director, has repeatedly demonstrated his knack for staging opera in the intimate confines of the Spa Little Theater. With Man of La Mancha, he brings the same integrity, cogency and dramatic urgency to a massive stage (the Saratoga Performing Arts Theater seats 5200 people in the amphitheater alone). His concept for Man of La Mancha is traditional, but technology imbues it with freshness and wonder. Barry Steele brought Edelson’s vision to life through video and projections that create the walls of a huge prison; the vast vistas of the arid plains of La Mancha, complete with windmills; and the inn where Don Quixote meets Aldonza. The velvety blue sky dotted with thousands of twinkling stars is magical. Most impressive of all was the entry of the Knight of the Mirrors with his men, most of whom were digital creations. The cast that Edelson assembled reminds one of the pure joy of hearing popular musicals sung with classically trained voices. He could have done no better.

- Seen and Heard International

”The 1965 Tony Award-winning musical was a fast-paced, innovative production with great singing that kept the enthusiastic crowd rapt and responsive to every song… Lawrence Edelson directed and had the cast moving in fluid, natural action….The cast was strong both vocally and in acting abilities. Everyone had great diction. Right off, baritone Zachary James as Cervantes/Don Quixote impressed with his comfortable stance as the center of attention. A graceful performer with a well-regulated baritone, his phrasing was elegant and he nuanced his lines gently, almost like coaxing the words. As his stalwart companion Sancho, tenor Brian Yeakley gave a playful but thoughtful characterization and sang with a focused, ringing tone. Soprano Kelly Glyptis as Aldonza inhabited her role. She sang with a vibrant, intense, edged tone and infused her acting with lots of drama and vitality…The crowd rolled along with all the action, applauding and often whistling their approval after every song.”

- The Daily Gazette

”As Quixote and Panza set out on their quest, they appeared to be mounted on horses, played by humans with large masks. When the animals start a little syncopated cantor, it was clear we were in for a good night. The direction and choreography by company boss Lawrence Edelson were up to his usual high standards. Considering the huge width of the stage and the minimal platforms and props, the action remained focused and varied…Filling the mise-en-scène above the players was a vast projection by Barry Steele, who also did the lighting. Sometimes the screen provided a still image, such as the bars of a prison at the start of the night. At other points, the imagery was more active, like during the popular “The Impossible Dream,” when a galaxy of stars slowly rotated and twinkled. A golden sun seemed to shine down from film to stage during “Golden Helmet of Mambrino,” and another radiant production number was “The Night of the Mirrors.””

- The Times Union”