Review: 'A New Argentina' Has Risen with Cape Rep's EVITA

When Sir Andrew Lloyd Webber and Tim Rice came together to write Evita, they probably didn't realize how big a splash they would be making the realm of musical theater; with its dynamic and rather challenging score, its continuous demand for the sung word (trademark of many Lloyd Webber pieces) and a plot with little to be played with in keeping with its historical basis, Evita is quite the undertaking for any theater group that chooses to accept the challenge of presenting this on stage. In this sense, it also has the great potential of surprising an audience with how beautiful it is when done in a certain way, and this element is what Cape Rep Theatre has managed to make possible and thus present to a Cape Cod audience with its current production of the Webber/Rice musical. "A New Argentina" has indeed risen with this stellar production of Evita, already boasting many sold-out performances with people flocking to bear witness to the story Argentinian First Lady Eva Perón and her epic rise to power.

With music by Lloyd Webber, lyrics by Rice and winner of eight Tony Awards, Evita lives again - this time bravely undertaken by Director William Roudebush*, and to say that Roudebush got it right is clearly an understatement and actually a bit of an insult to the sheer genius of this production. Everything from the choice of cast to the lighting, from the staging to the choreography was stunning, and it is obvious that, as Director, he went all out with his vision of how he wanted Evita to be presented. It is supposedly very difficult to direct a musical that is not only very challenging in its nature but also does not offer much leeway in terms of how creative one can be with the presentation of characters due to the musical's historical background; indeed, in fear of making this a rather dry portrayal of the Perón's controversial rise to power might be one reason why this musical is not a challenge not often accepted. In saying this, Cape Rep's production has renewed my faith in the beauty of Evita, even more so than the most recent Broadway revival ever did.

Evita tells the story of Maria Eva Duarte de Perón, a beautiful aspiring actress who became the revered symbol of hope for a troubled Argentina. Originally from poor origins and one of the people for whom she came to fight as political leader, she began her public career with a well-known radio station, making quite a name and salary for herself before meeting Colonel Juan Perón, a forty-nine year old widower and rising political figure who fought for the rights of the "decamisados." Perón was soon elected President, and he and a twenty-six year old Eva were then married. After their marriage, Eva turned her attentions to her husband's political agenda, and because of her charismatic and giving nature, became the glorified but highly controversial image of the people of Argentina. As many as there were who supported her, there were also those who disapproved of her involvement in political affairs, and would not give her due credit for her accomplishments; this was during a time when women were not meant to be involved in politics or given any sort of power of change, let alone wishing to soon become Vice President. Unfortunately, Eva's failing health due to cancer put an end to her ambitions, resulting in her death at the young age of thirty-two. "Evita," as she came to be called, now gives her life story to this beautiful musical, and the power she had whilst alive gives such a spark to the message Webber and Rice thus now convey through song.

Evita is an inspiring story that really makes an effort to include all sides of a single story, even adding characters such as Ché to have major influence on the audience; it is as though the characters in this musical are somehow vying for the attention of the "people," who are no longer limited to those alluded to in the show. What is fascinating about this musical is that the "people" are hereby given a right to believe what they wish to about Eva Perón, but the fact that the entire story is told in light of her as a great leader makes it difficult to believe in any of the criticism once given to her. There are two moments in the show that are especially poignant due to different reasons: the first because of the a priori knowledge the audience possesses about Eva, and the second because of how the story just told has a newfound impact on its collective life. When Eva exits her coffin at the start of the show and reenters it once again at the very end upon her death, there is this sort of unprecedented feeling that comes about: one of fear, perhaps, but a fear that has such an effect on everyone watching that it is so beautiful to watch. As she enters her coffin (of her own accord, making her strong until the very end of her life), she leaves the audience with this strange, empty feeling that such a life had to conclude so quickly, as there are very few people in this world who could so ardently and with such a spark of beauty live for something in which they believe. Roudebush, as I will say again, really discovered how to capture the essence of this woman in a way I have never before seen, and his efforts to do can only be praised and admired by this critic.

Now, the actors in this production deserve their own bout of praise. Rachel O'Malley as Eva gave one of the best performances I have ever seen on a stage; after listening to her astounding voice for the first act, I would imagine the universal sense of anticipation watching her tackle both the notes and the pressure of Eva's gradual decline in the second. This is the type of person whom others can show their admiration by trying to be as good a performer as, and there really is nothing but grand things to say about everything she did on that stage; most importantly, she played the role of Eva Perón beautifully. Zal Owen* as Che also gave a really fantastic performance. Not only did my wonder of his beautiful voice (with what a range!) linger well past the end of certain songs, I was really impressed by how ardently he sought Eva's descent and almost viciously at times reveled in his opinion that she was nothing more than an actress winning over her crowds.

A. Bryan Humphrey* as Perón really did a wonderful job remaining the political leader he was and forever keeping his eye on the prize, but at the same time becoming quite infatuated with the beautiful Eva. I love watching actors who are able to capture two sides of one character well, and watching Humphrey do this was really awesome. Anthony Teixeira as Magaldi and Chelsey Jo Ristaino as Peron's mistress were also wonderful, as were ensemble members Lindsey Erin Agnes (whom I remember from HJT's The Music Man), Garrett Almeida, Marie Becklo, Tom Leidenfrost, Ari Lew, Hannah Matusow, Jonathan Tomaselli, Eleanor Tynan, Catie Clarke, Nell Daisy Hamilton and Abigail Jason. Credit must also be given to Musical Director Scott Storr and the wonderful orchestra of David Girardin, Gregg Sullivan, Chris Bill and Chad Chaffee, who all did a wonderful job keeping that music flowing!

So, if you happen to be in the Brewster area on your travels, please be sure to see Cape Rep's Evita, as it is a performance you will not forget. Cape Rep is located at 3299 Rte. 6A, and performances began on August 4th with an anticipated run thru August 29th. The performance schedule is as follows: Tuesdays thru Thursdays at 7PM, Fridays and Saturdays at 8PM and Sundays (8/16 and 8/23) at 2PM. Tickets are $33 and may be purchased in person at the box office, by calling (508).896.1888 or by visiting www.caperep.org. Also be on the lookout for upcoming Cape Rep shows to complete its 30th Anniversary season.

Enjoy the show!

*Denotes member of The Actors' Equity Association or the Stage Directors and Choreographers Society

Photo Credit: Bob Tucker/Focalpoint Studio

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