Review: MTW Presents a Vocally Thrilling EVITA

EVITA/lyrics by Tim Rice/music by Andrew Lloyd Webber/choreographed by Hector Guerrero/directed by Larry Carpenter/MTW (Musical Theatre West) at The Carpenter Performing Arts Center, Long Beach/through February 26 only

Don't cry for Eva! Tim Rice's & Andrew Lloyd Webber's Evita has had a thirty-nine year international love affair with the public since it premiered in 1978 in London and in 1979 on Broadway. The latest revival in regional theatre is currently at MTW in Long Beach.

An operetta, or rock opera, with no spoken dialogue, and based on Eva Duarte Peron and husband Juan Peron of Argentina, the story documents the rise to power of a simple peasant girl to the rank - almost - of Vice-President of her country. I say almost because she became too ill to accept the nomination in 1951 and passed into immortality in 1952 after a seven year reign as First Lady of Argentina. Evita: criminal or saint? has been the topic of books and documentaries. Eva caused Argentina to go bankrupt as she fed the poor or descamisados. It doesn't really matter. She was so adored by the working class that her body was stolen from its grave and went missing for seventeen years. Saint or not, her greed and ambition mark her as one of the most fascinating women of the 20th century, whose crazed yet passionate life fits an overblown opera to the letter. She even died at 33, the age at which Jesus Christ expired. Is it any wonder that she has reached iconic status?

MTW's revival is very well done, particularly praiseworthy for its vocal artistry. Ayme Olivo (Eva), Richard Bermudez (Che), Davis Gaines (Juan Peron), Zachary Ford (Magaldi) and Ashley Marie (Peron's Mistress) all have deliciously powerhouse voices and do great justice to Lloyd Webber's rich and overpowering score. Hector Guerrreo's choreography is outstanding as an ensemble of twenty+ great singers/dancers move continuously and fluidly around the principals. The role of narrator Che, based on the revolutionary Che Guevara, is more a simple everyman, which adds intrigue and fascination, as he strolls freely around the stage with assurance and control, dressed casually as a workman. Power is such an unstable commodity! He is also a reminder/mirror to Eva in the "Waltz for Eva and Che" of where she came from, and in the eyes of the military, where she belongs.

There were a couple of missing elements in Larry Carpenter's direction that bothered me. They are not major, but still important. In Act One's "Goodnight and Thank You" and in Act Two's "Rainbow Tour", Olivo makes only one costume change at the end of each number. As to "Goodnight and Thank You" in 1944 Eva Duarte was a go.getter. trying to 'make it' as an overnight success, so she bedded and used many men from government employees, to the military and to radio and press celebrities. The usual in and out the door rapid staging of this number with an array of costumes adds to her flair, her excessive ambition and vibrantly colors her artificiality in question. Wearing one bathrobe made the scene less exciting to watch. In "Rainbow Tour" in the 50s Eva was trying to impress the world, so the clothes, several different outfits, are urgent...and the more elegant, the better, She's putting on a show. For some reason, Carpenter chose to make it easier on Olivo, and she wears only one outfit throughout the scenario. Disappointing! Also a tad nebulous is the choice to leave out "You Must Love Me", written for the film, but put into most of the major productions of Evita over the past few years. It, as well, adds color...in this case to Eva's emotions, as she anguishes alone over her fast approaching death. As far as the staging and pacing of the entire production, Carpenter's choices are superb.

The ensemble is top.notch. Olivo makes a very personal Eva - possessing much, much more than just "a little touch of star quality" - with lovely voice and consistent drive and fervor. She is wonderfully effective in her last scenes, keeping her voice low and almost inaudible in Eva's weakened condition. Bermudez is a sensational actor and singer, making Che his very own. Che's ferocity and intensity are consistently present, but never forced. A dynamite performance! Gaines is a natural for Peron, who, although weak, stands tall and loyal to the woman who put him where he is. Quite remarkable in this production is the maintained balance between the three, one never overstepping the other; each has several turns in the spotlight, and we feel their power equally. Marie rather underplays Mistress in her one number "Another Suitcase in Another Hall", and Ford as Magaldi also applies the natural approach to his portrayal, never letting his reactions go over the top. Both Marie and Ford join the chorus when they are not essaying their roles.The cast work together like clockwork under Carpenter's and Guerrero's leads, creating an indelible, unforgettable picture of the era. Karen St. Pierre 's costume designs are simple but genuine period attire. Eva's many outfits in white are a beautiful and intriguing virginal choice for such a tainted woman. Jonathan Infante's video projections work marvelously in filling in the real footage of Eva et al, particularly in the massive crowd scenes.

When you have a great chorus of singers, they do justice to the music, making Rice's and Webber's music reverberate. "Requiem", "A New Argentina", "High Flying, Adored", "Rainbow Tour", "Don't Cry for Me Argentina"... the entire score, in fact, sounds amazing under the baton of virtuoso musical director David Lamoureux.

Evita remains my favorite Andrew Lloyd Webber musical of all time. Apart from the majestic musical score, I find the story thrilling and fascinating to watch, bigger than life. Overall, MTW has done it proud. And in this crazy new Presidential year, it's a perfect choice, offering a clear glimpse into full-out corruption in politics. It is no wonder that this political Cinderella story is still a hit after nearly 40 years. It's ageless.

(photo credit: Caught in the Moment Photography)

www.musical.org

To post a comment, you must register and login.