BWW Reviews: EVITA Lacks Star Quality

"Evita" has long been criticized for its expository nature, with critics complaining that the audience rarely gets to see much action actually take place onstage. Andrew Lloyd Webber has long been criticized for repeating his own melodies, simply recycling refrains heard earlier in the show. It is up to the creatives and casts of "Evita," then, to overcome these flaws and, unfortunately, the National Tour production, which opened last Thursday at the Oriental Theatre, is not quite up to the task.

Not to say that it's not a solid production, or the cast is lacking in talent. With a set by Christopher Oram and lighting by Neil Austin, the stage pictures created are some of the most beautiful in recent memory. However, the aesthetic appeal proved to be the most exciting part of the show, a weakness that feels palpable in a show like "Evita,"where the excitement should lie in how a country got swept up in all the fervor over a politician's wife.

Where this production of "Evita" suffers the most is in the casting of its power couple. Not to say that Caroline Bowman, who plays Eva, or Sean MacLaughlin, who plays Juan Peron, did not do commendable jobs. On the contrary; both were clearly very talented performers. However, both were severely out of place in their respective roles.

Bowman, who I was simply grateful to for finding a character arc and not squealing at the audience like the revival's original Eva, Elena Roger, simply could not pack the punch the character of Eva requires. It feels difficult to critique her, as I believe she gave her all and is a clear talent, but her ingénue presence could not be overcome.

Perhaps the biggest fault in casting Bowman is her voice. Much of the excitement surrounding Eva (and, in turn, the show itself) relies on the acme moments in the songs (especially when those songs are so repetitive, these pinnacles of emotion and voice are imperative). When the Eva switches to a light soprano (even causing the orchestra to have to quiet a bit) or, at best, a poppy belt, the power of the song, and Eva herself, is completely lost. It is well-known in the theatre world that Eva is one of the most vocally challenging female roles in existence, with a range nearly impossible in one woman and often sitting in the break between chest and head voice. However, when it comes to what can be sacrificed in casting an Eva, the power belt should not even be on the table.

MacLaughlin suffers from a lack of gravitas as well, but in his age, rather than this voice. Looking extremely young, as well as MacLaughlin does in trying to overcome his boyish looks, it is not enough to believe in the indomitable, sometimes manipulative, nature of Peron.

Fairing the best in his role is Josh Young as Che. With a gorgeous voice that seems to have no limit to its range, he is the most at home on the stage. (However, for those who saw Ricky Martin's irresistible turn in the role on Broadway, you may find a lack of camaraderie with Young's Che.)

The staging, thanks to director Michael Grandage and choreographer Rob Ashford, is often fluid and works best when aided by the excellent lighting, but occasionally finds its characters in limbo (namely in "And the Money Kept Rolling In (and Out)," the most impressive number in the show, when Che is forced to stay in one place during a dance break and it feels as though he is just waiting for the moment he can move).

Because of "Evita's" structure, it takes a lot for audiences to empathize with the characters and sitting in the audience of this production, I felt more like a passive viewer, merely observing the story as opposed to feeling invested in the lives of these characters. In this sense, I was contentedly entertained while at the theatre, but nothing in this production stuck with me beyond the theatre doors. In fact, on the way home, I had the urge to listen to either the original or revival cast recordings, where I feel the excitement of "Evita" more than I did at the theatre. Even increasing the volume of the orchestra and the microphones (the sound seemed as though it couldn't move beyond the proscenium) would be advantageous to imparting the hurrah of the Perons' reign. If I was an Argentine citizen during Peron's election and this production was my only encounter with the famous couple, I likely wouldn't have bothered to vote.

"Evita" runs through October 6th at the Oriental Theatre. Tickets available through Ticketmaster. Tickets range from $27 - $90.

Photo Credit: Richard Termine

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