Follow the cast and crew of Man of La Mancha as they create an unforgettable experience. By Diana Babineau
There’s no shortage of imagination at Northwestern. Students pursue music, literature, dance, visual arts and more, creating a robust artistic environment with many avenues for expression. For theater department chair Henry Godinez, though, the magic happens when all those artistic disciplines come together to realize one vision: a theatrical performance. Last December he gathered a team of students and staff and read from the script of the famous 1965 Broadway musical Man of La Mancha:
When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams — this may be madness. … And maddest of all, to see life as it is, and not as it should be.
With these lines, Godinez kicked off the first design meeting for the Virginia Wadsworth Wirtz Center for the Performing Arts’ production of Man of La Mancha. Students would go on to build a set from scratch; design unique costumes, props and lighting rigs; and rehearse for hours on end to make this dream a reality.
One of the world’s most frequently staged musicals, Man of La Mancha is set in a prison in late 16th-century Spain during the Spanish Inquisition. When Miguel de Cervantes, author of the seminal novel Don Quixote, and his trusty sidekick are imprisoned there, they convince their fellow prisoners to participate in a theatrical retelling of the novel. Cervantes becomes Don Quixote, knight errant, and his friend, the devoted squire Sancho Panza. It is a “play within a play,” Godinez explains.
But Northwestern’s production had a timely twist. Directed by Godinez, the Carlos Montezuma Professor in the School of Communication, the play was set not in a Spanish prison but in a U.S. Immigration and Customs Enforcement (ICE) detention center on the U.S.-Mexico border, where prisoners await deportation. The idea, says Godinez, came from his daughter Gaby Godinez ’21, who had planned to produce the play during her senior year at Northwestern. (The COVID-19 pandemic indefinitely postponed those plans.)
The show, which ran at Northwestern’s Ethel M. Barber Theater this spring, was just one of 40-plus productions during the Wirtz Center’s 2024–25 season. With myriad opportunities to gain professional-level experience onstage and behind the scenes, students are empowered to take leading roles where they can experiment and find their artistic voices. And when the lights go down, the magic begins.
“Theater gets right to the core of who we are as human beings,” says Godinez. “It has the power to make us think. But more importantly, it has the power to make us feel. And right now, we … need to know what it feels like … to be human. We all have so many more things in common than things that divide us. That’s why we need theater right now.”
Inspired by the play’s reimagined setting — at the U.S.-Mexico border — costumer designer Josie Everett ’25 MFA incorporated Mexican textiles into her costumes, along with elements from El Teatro Campesino (a Latino theater company founded in 1965 in California, the same year Man of La Mancha debuted at the Goodspeed Opera House in Connecticut). She sourced fabrics from local thrift shops and the Wirtz Center’s extensive collection of materials.
Costumes play an important role in the story, says Everett. When Cervantes enters the detention center, he brings along a chest full of costumes and props and introduces himself as a “poet.” Director Henry Godinez also notes that Cervantes was a playwright and a contemporary of Shakespeare.
“A lot of the costumes from Cervantes’ chest are inspired by late 16th-century and early 17th-century Spanish silhouettes,” says costume designer Josie Everett.
Scenic designer A Inn Doo, a third-year MFA student, wanted the set for this production to “metaphorically tell the relationship of the United States to immigrants — where they import people as needed and then throw them away like commodities,” she says. Doo researched photographs of defunct box stores that have been repurposed as detention centers along the U.S.-Mexico border, then incorporated those elements into her set design.
Doo created this 1/4-inch scale model of the Barber Theater to map out her vision, complete with tiny props.
Doo worked with staff and students to construct the set, using the Wirtz Center’s paint and scenic design shops. She came up with clever modifications to adapt the play to its modern-day setting. In the show’s final scene, for example, Cervantes and his friend are loaded into the back of a truck to be deported — but a real truck would not fit inside the Barber Theater. So Doo got creative.
With limited space backstage, Doo designed this large wooden box with a metal frame and black interior to create the illusion of a truck extending far into the distance.
Sound effects, a garage door and red brake lights completed the illusion in the final production.
Doo’s set design was intentionally bleak, to convey the hopelessness of the detention center environment. But the atmosphere changes when Cervantes invites his fellow detainees — and, by extension, the audience — to imagine the vibrant world of Don Quixote. As they act out Quixote’s story, grocery carts become noble steeds, an industrial ceiling fan becomes a windmill, and a dolly becomes a confessional booth. “Imagination is the only thing that people cannot take away from us,” says Doo.
Director Henry Godinez cast 20 undergraduate student actors, who put in over 160 hours of rehearsal time from February through April. While the set was under construction, students practiced their roles in one of the Wirtz Center’s black box theaters. Scroll for an inside look at the rehearsals.
Esteban Ortiz-Villacorta ’25
Cervantes / Don Quixote 
“Getting to take on the role of Don Quixote ... has been truly inspiring and a dream. It feels like an accumulation of four years of hard work here at school,” says Esteban Ortiz-Villacorta. “Having Henry as the director, as a professor, has been a gift,” he adds, noting that he chose Northwestern in large part because Godinez was chair of the theater department.
Isadora Coco Gonzalez ’25
Aldonza / Dulcinea
“To be one of seven graduating seniors in this show and to share this last hurrah with all of them is really special,” says Coco Gonzalez, adding that playing Aldonza, a Hispanic character “who shares my identity, is the cherry on top.” Like her character, Gonzalez is daring to dream big. “I’ve decided that I cannot be shy about what my dreams are. I want to be on Broadway.”
Nathan Hiykel ’25
Sancho Panza
“Playing Sancho … was a turning point for me as an artist,” says Nathan Hiykel. “In the midst of a tumultuous period in current affairs, this production gave me a way to breathe and make an impact through storytelling. … I felt immense pride knowing we were doing something meaningful.”
Lighting designer Sierra Walker ’25 MFA wanted to create a stark contrast between the dynamic, colorful world of Don Quixote and the cold, inhospitable detention center. “When we jump from this beautiful, heightened reality back to the detention center, we feel the shift — not only on the stage but in ourselves,” says Walker, who operated 250 individual lights during the show. “There is power in every single choice you make onstage.”
Seventeen prop surveillance cameras hung from the ceiling of the theater to enhance the detention center atmosphere. But during the nighttime courtyard scene in Quixote’s story, the cameras lit up, mimicking starlight, and a circular vent became the moon, providing a tranquil backdrop as Ortiz-Villacorta sang “The Impossible Dream (The Quest).”
By contrast, red, pink and orange lights emphasized the fiery nature of Quixote’s love interest, Aldonza, played by Coco Gonzalez, during her song of defiance.
Each time an ICE agent disrupted the story, harsh, white industrial lights suddenly flashed on from the trusses above, shocking the characters — and the audience — out of their illusory world.
With several sold-out shows and nine performances overall, the knight errant and his fellow cast of characters put on a truly memorable musical. Enjoy a slideshow of the final performance below, including backstage shots. For the full cast list and notes from dramaturg Phoenix Gonzalez and director Henry Godinez, check out the Man of La Mancha program. Congratulations to the cast and crew!
Diana Babineau is senior editor and writer for Northwestern Magazine. She enjoyed spending 6 months following this cast and crew, accompanied by digital videographer and photographer Shane Collins and video producer Jude Appleby, to document this production.
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Reader Responses
Beautiful piece!! Wow!
—Jenny O'Grady Baltimore, Md., via Northwestern Magazine
Amazing production. Makes me proud again to have gone to Northwestern! Perfect for this time in our lives. The finale when the cast pulled out their flags was emotional. Thank you all.
—John Baumrucker '66, United States
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