Review: EVITA is a Feast for the Eyes in Music Theatre of Connecticut's Snug Space

"Statesmanship is more than entertaining peasants," a soldier snarls upon the election of Juan Perón in Andrew Lloyd Webber and Tim Rice's quintessential historical snapshot, Evita. The mixing of politics and celebrity does not cease to capture the attention of onlookers - even half a century later. (Just take a look at the carrot-topped imbecile currently dominating media coverage surrounding the 2016 election.)

What a time for Music Theatre of Connecticut to revive this musical, bringing the "circus" that is how we the people view seemingly larger-than-life characters into its snug Norwalk space. Whether one worships or loathes the tale of Eva Perón's Icarus-like rise to the height of Argentine political power and beyond in the 1940s, one cannot deny how transfixing it is.

As with Donald Trump's candidacy today in 2015, we flock to our smartphones, thumbing through his outlandish Twitter feed, making quips about how preposterous the idea of him leading the free world seems - at the same time, relishing the spectacle and resultantly, prolonging it.

Unlike the Donald, the character Eva has a likeability to her, at least in the enchanting way songbird Katerina Papacostas portrays her; MTC front man Kevin Connors tasks the audience with judging the title heroine saint or sinner in his director's note. Her voice fills the intimate space, which the effervescent ensemble uses very well. High kicks in a 110-seater? Thanks, choreographer Rebecca Timms.

Dance captain Rachel Macisaac brings enthusiasm fit for a Great White Way production. All of the voices blend nicely together; however, the ladies win this round as far as clarity is concerned. Carissa Massaro's bits in "Another Suitcase in Another Hall" are particularly nice storytelling moments.

Luckily, a Tony-winning Webber story about an icon once played by Madonna hardly needs a rehashing of the events that transpire: peasant girl rises to high society. The way in which she gets there is morally questionable, as is the way she takes her place at the throne once there. The instant queen, a cross between a fantasy in the bedroom and a saint.

Not as fortunately, many of the lines and lyrics are lost in this production. To the cast's credit, the band behind them is giving it their all - Thomas Martin Conroy and Mike L'Altrella on the keys, Jim Andrews on bass, and yes, I'm looking at you on the drums, Chris Johnson. Striking down the band is not an option; however, neither is forgoing to hone in on one's diction as a performer. (I'm picking on Daniel C. Levine here because the man's got some serious Broadway credits under his belt.)

All in all, both first timers and those experiencing Evita all over again will witness some pretty pictures. A load of that credit should be bestowed upon costume designer Diane Vanderkroef. Evita's wardrobe is exquisite; the entrance where she wears the "Don't Cry For Me Argentina" gown received well-deserved gasps on opening night. And what fun for an ensemble to not be tied down to one signature garment (sometimes not even within the same musical number).

Like the divine Eva Perón, Music Theatre of Connecticut's retelling of Evita is a delicious feast for the eyes, especially in such close quarters. Like the state of America's impending political landscape come 2016, simply clearing up extraneous noise can take any public display leaps and bounds.

Photo Credit: Joe Landry

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