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The program also includes two new works: “Brel,” a male solo of breadth and power set to music by Jacques Brel; and “The Ballet Master” to music by Simeon ten Holt and Vivaldi, in which Don Quixote, Sancho Panza and Dulcinea make an appearance by way of the performers John Selya, Daniel Ulbricht and Cassandra Trenary.

There are streetwise brothel madams, cat-and-mouse chases across the dusty plains, a Sancho Panza in the form of a louche British sharpshooter, a flash of lightning that reveals the cruel ranger’s face.

Of meeting John the first time, he writes: “I like him tremendously because he’s not condescending. I sense a kindred spirit; we’re outsiders looking for a way in, and I’m willing to play along, Sancho Panza to his Don Quixote.”

Wilson sets “The Red Balcony” in motion when Ivor Castle — an Oxford-educated Jewish Englishman whose father changed their name from the German and Jewish-sounding Schloss — comes to Palestine to help with the legal defense of the accused assassins, two right-wing Russian Jews described as looking like Don Quixote and Sancho Panza.

I was like a young Walter Mitty; a Don Quixote with no Sancho Panza.