Review Roundup: EVITA National Tour

Producers Hal Luftig, Scott Sanders Productions and Troika Entertainment present the national tour of the Tony Award Nominated Best Revival of a Musical and smash hit production of Tim Rice's and Andrew Lloyd Webber's EVITA.

The national tour of EVITA stars Caroline Bowman (Kinky Boots) as Eva Peron, Tony nominated Josh Young (Jesus Christ Superstar) as Che and Sean MacLaughlin (Woman in White) as Juan Peron. The cast also features Desi Oakley as the alternate for Eva, Christopher Johnstone as Magaldi and Krystina Alabado as the Mistress.

The company will also include Ryan Bailer, Nicholas Belton, Jessica Bishop, Ronald L. Brown, Holly Ann Butler,Diana DiMarzio, Katharine Heaton, Tony Howell, Katie Huff, Patrick Oliver Jones, Ian Liberto, Alison Mahoney, Robin Masella, Megan Ort, John Riddle, Morgan Rose, Michael Scirrotto and Tug Watson.

Directed by Tony and Olivier Award-winner Michael Grandage and choreographed by Tony Award-winner Rob Ashford, this is the first new Broadway production of the seven-time Tony Award-winning musical, since it debuted on Broadway over 30 years ago.

Let's see what the critics had to say:

Chris Jones of the Chicago Tribune says: For all intents and purposes, Thursday was the opening night of this "Evita" (we'll call Providence, R.I., a preview). And thus you are seeing a show that is not yet a well-oiled machine, which is always my preference. There is still fear behind the eyes of Bowman, a quality that one hopes she does not lose. The last time we saw Bowman here, she was in the chorus of "Kinky Boots," making shoes. Keeping the old, working-stiff role in mind as she essays the new one will serve her well on the road. What she most needs is more edge and a sharper evocation of the inevitable messiness of raw sexual and political ambition. She also has yet to figure out how to play Evita's physical decline, which provides much of the second-act conflict. It will have to take over her body, progressively. Not easy to do, but it's the assignment.

Chicago Critic says: I'm not an avid Lloyd Webber fan and I'm seen Evitabutchered in regional theatre, so I was pleasantly surprised by this worthy production.Caroline Bowman's Eva Paron was marvelous. She has the voice to land her numbers and the stage presence to command a scene. Her natural beauty and charisma wins us instantly. Her emotionally gripping and clearly enunciated delivery of "Don't Cry For Me Argentina" was breathtaking. She delivered a smooth polished Evita.

Time Out Chicago says: As Eva, Caroline Bowman meets the punishing demands of Lloyd Webber's score admirably, but rarely seems to reach out to connect with us, as she must if we're to get the "star quality" that endeared her to the Argentinian poor from which she rose. (Desi Oakley serves as an alternate Eva at some performances.) Rob Ashford's Tony-nominated choreography, which finds umpteen variations on the tango, is impressively executed, and the imposing sets and glittering costumes (both by Christopher Oram) contribute to an attractive, enjoyable package, with ear-pleasing renditions of the show's well-known numbers ("Don't Cry for Me Argentina," "Another Suitcase in Another Hall," "Rainbow High"). Yet Grandage's production, like Eva the character, falsely equates glamour with power. It's an attractive diversion, but it's not changing anybody's lives.

The examiner.com says: Expect to leave the show humming "Don't Cry for Me Argentina," the signature song that spotlights why the ambitious Eva was adored.

The Sun Chronicle says: Vocally, the show largely rests on the shoulders of Josh Young as Che and Caroline Bowman as Evita. Young's is the first cast voice heard and from beginning to end he is clear and powerful. Bowman has a beautiful voice but at times on opening night appeared to lose control of it and shriek. When that happened, her words were garbled and her message was, unfortunately, lost. Thankfully, it was just a few points in the show.

BWW Rhode Island says: Though Caroline Bowman is clearly enthusiastic in the title role, Eva's charisma - the magnetism that captivated the hearts of her people and fascinated foreign nations - never has the chance to shine through, and she lacks a needed transformation from mercenary coquette to adored icon. This production focuses so fully on Eva's unchecked ambition that it sacrifices the character's charm and personality, and theatergoers are left to wonder why this "Evita" was so beloved by the people of Argentina.... Bowman delivers solid vocals and good energy in the mid-range songs, but loses stamina in lower keys and struggles in the upper registers. She cuts a queenly figure in the show's best-known balcony scene ("Don't Cry for Me Argentina") and gives her best performance in the second-act number "You Must Love Me," a song originally written for the 1996 film adaptation of Evita.

To post a comment, you must register and login.