BWW Reviews: Candlelight's EVITA a Model Revival

Evita/lyrics by Tim Rice/music by Andrew Lloyd Webber/choreographed by Roger Castellano/directed by Chuck Ketter/Candlelight Pavilion Dinner Theatre, Claremont/through June 28

Tim Rice's & Andrew Lloyd Webber's Evita has had a thirty-seven year international love affair with the public since it premiered in 1978 in London and in 1979 on Broadway. The latest local reincarnation currently at Candlelight Pavilion Dinner Theatre, Claremont until June 28 is lovingly directed by Chuck Ketter and excellently choreographed by Roger Castellano.

An operetta 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 which began in 1946. Evita: criminal or saint? has been the topic of books and documentaries, as she caused Argentina to go bankrupt. She took the funds and 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 not returned 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/rock 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 - or diva - status?

The staging by Ketter is taut and scaled down from the original and touring productions, keeping the palace balcony with draping Argentinian flag clearly on display in the background throughout. Castellano's choreography is slick and fast. An ensemble of twenty great singers/dancers move continuously and fluidly around Eva (Laura Dickinson), Juan (John LaLonde) and Che (Richard Bermudez). Che, representing revolutionary Che Guevara, is the narrator and everyman, wandering through the crowds of descamisados and thumbing his nose at the upper class snobs. 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.

The ensemble is sensational. Dickinson makes a resilient Eva - possessing much depth, more than just "a little touch of star quality" - with lovely voice and consistently intense drive and fervor. Her vocal power is somewhat diminished in Act I by the background sound recording, but is in fine shape in Act II for "Don't Cry for Me, Argentina!" and the Rainbow tour. Her acting in Act II as the physically defeated Eva, overcome by cancer, is a tour de force. Bermudez as Che is a powerhouse triple threat and LaLonde, in a less showy role, lends fine support as the caring yet insecure Peron. Alexandra Specter is a knockout as Mistress with her one number "Another Suitcase in Another Hall", and Lucas Coleman as Augustin Magaldi is also a fine singer who creates yet another dynamic portrait of ambition. The ensemble work together like clockwork under Ketter and Castellano as guides, creating an indelible, unforgettable picture of the era. Greg Hinrichsen's simple scenic design is not overpowering but effective enough and costume designs by Karen Fix Curry and Merrill Grady are appropriately authentic. Eva's many outfits are beautiful, especially the white sequined gown, a deliciously intriguing virginal choice for such a tainted woman.

When you have a great chorus of singers, they do justice to the music, making Rice's and Webber's score stand tall. "Requiem", "A New Argentina", "High Flying, Adored", "Rainbow Tour", "Don't Cry for Me Argentina"... the entire score, in fact, sounds fantastic. The inclusion of "You Must Love Me", written for the 1996 film of Evita and which was nominated for an Oscar for Best Song, adds a curiously sympathetic touch to Eva's personal dilemma as she approaches her early demise.

This is a lovely staging of Evita. Well directed, well acted, danced and sung, and offering a clear glimpse into corruption in politics, it is no wonder that this political Cinderella story is still a hit after nearly forty years. It's ageless.

As always, the food and service at Candlelight Pavilion are impeccable. This time around $6 drink specials include 'The Buenos Aires' and a very fruity sangria-like 'Rainbow Tour', wonderful complements to a fabulous meal.

www.candlelightpavilion.com

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