To Dream the Impossible Dream

Few songs could capture the essence of nearing the completion of a University degree and at the same time demonstrate the nature of the course my students and I have been on together these past four months better than To Dream the Impossible Dream. The song has entered the canon of the American Songbook and is familiar to millions who know nothing of its origin as part of the Broadway play Man of La Mancha. The play is a riff on the great novel Don Quixote by Miguel de Cervantes which presents a complex view of human nature despite the surface comic opera of the story it tells.

Man of La Mancha was, as so many Broadway shows of its era, an almost entirely Jewish affair. The creators of the show were all Jews, Mitch Leigh, Joe Darion and Dale Wasserman. Joe Darion was also the lyricist for The Impossible Dream. You’d have to look hard for the fact of his Jewish upbringing because none of the common biographical sources mentions it–apparently Mr. Darion was very private about his upbringing and religious life. The music of The Quest (the original name of the song) was composed by Mitch Leigh, who was born Irwin Mitnick in Brooklyn, NY.

I leave it as an exercise for the reader to decide how the themes of imagination and hopeless causes might have carried so much import for this group of Jewish artists.

Most of the portrayers of Don Quixote on the stage (and screen) were non-Jews.The original was Richard Kiley, a Roman Catholic.The 1992 Broadway revival featured Roman Catholic Raul Julia in the title role. And the 2002 revival starred my personal favorite, Brian Stokes Mitchell. “Stokes” doesn’t say much about his religion, but I’m guessing it isn’t Judaism based on his comments that his heritage is “African American, German, Scots, and Native American.”

Now comes Azi Schwartz, albeit in his role of synagogue Hazzan rather than part of a Broadway show, who sings this song with the perfection for which he is justly famous. For me, hearing his beautiful countertenor reminded me of the Jewish roots of this play and this composition.

A fitting conclusion, I would suggest, for the first course in Jewish Music at the University of Tennessee.

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