Review: Cygnet Theatre Brings a Charismatic and High Flying EVITA to the Stage

EVITA, like the person whose life inspired it, Eva Perón, is an iconic musical that is forever being re-invented to bring new life to the subject.  Cygnet Theatre brings its version of EVITA to the stage with a charismatic cast, high-flying vocals, and engaging choreography through October 1st.

This Andrew Lloyd Webber and Tim Rice musical debuted in 1978, and ever since this musical, like its central character, has captured the hearts and minds of audiences and critics alike.   Following the meteoric rise of Eva Durate, who was born poor and unknown, and after marrying Juan Perón a colonel in the military with lofty ambitions, she died wealthy and infamous worldwide.

Poor, but ambitious Eva (Ariella Kvashny) first connects with Magaldi (Matthew Malecki Martinez) a showman and crooner who sings to a swooning audience.  As he departs from her small town, he is maneuvered to take Eva along with him back to Buenos Aires.  From there, it is not long before Eva finds herself building her career as an actress and radio personality through a series of useful men.

At an event, she meets up-and-coming military and government official Juan Perón (Berto Fernández) and they find that together they may be a pair who can rise all the way to the top. Throughout all of this, the show's narrator, and every man commenter Ché guides the audience through her life story with equal parts passion and cynicism.

Kvashny as Eva is excellent, managing the trick of balancing these complex vocals, and portraying the major life arc of this captivating if calculating woman. Her manners and voice become more nuanced with each accession in the social stratosphere, but she also allows for vulnerability and tenderness, especially when dispatching Perón’s young mistress (Vanessa Orozco).  Kvashny also poignantly performs “Don’t Cry for Me Argentina” and when she raises her hands in the iconic balcony scene even the audience cheered.

Fernández as Perón is dashing and powerful, with ambition and the ability to dispatch those who stand in his way but not the social polish or media savvy that he finds with Eva.  He can break a neck if he has to, but he lets Eva do the emotional dirty work. He has a strong voice and also allows for some sentimentality to shine through at the end of the second act.

A.J. Mendoza's Ché is like a mischievous and menacing ever-present Puck - he is narrator, instigator, and sharp critic all in one.  His Ché is both omnipresent and able to blend into the background while offering wry commentary with expressive vocals.

Other standouts include Martinez as the silky-voiced tango singer Magaldi, and Orozco who brings a poignant moment of despair as one of the earliest casualties of Eva’s ambitions.

This show has a talented ensemble that includes Susana Cafasso Alvarado, Julia Celano,  Domo D'dante, Augusto Guardado, Natalia Hill, Justin Lunsford, Daisy Martinez, Sebastian Montenegro, Brian Osuna, Liliana Rodriguez, Tamara Rodriguez Mehl-Mchugh, Matthew Ryan, Jazz Ruiz, and Lucy Santos. 

Directed by Sean Murray this production keeps the pace moving and engaging and allows the vibrant choreography by Carlos Mendoza to help complete telling the story and keep everything moving.  This is especially effective in using the tango dancers Sebastian Montenegro and Tamara Rodriguez Mehl-Mchugh (under tango consultant Nicole Wooding), throughout the show. The show also uses Spanish wisely, bringing a welcome and distinctly Latin influence to this musical that was written by two white, British men.  

Musical direction by conductor and keyboardist Patrick Marion brings the music to life along with PJ Bovee on guitar, Michelle Gray on keyboard, Devin Henderson on trumpet, Nathan Hubbard on drums/percussion, and Berk Schneider on trombone.

The scenic design by Mathys Herbert is clean and allows for quick adaptability and of course, there is a balcony. It also gives a clear canvas for Blake McCarty’s outstanding projections and video clips.  Lighting by Amanda Zieve, sound design by Evan Eason, hair and makeup by Peter Herman, and costumes by Zöe Trautmann all work together to complete the picture.  

This production brings a spirited version of EVITA to the stage, but whether Eva was a sinner, saint, or somewhere in between is up to you.

How To Get Tickets

EVITA is playing at Cygnet Theatre through October 1st.  For ticket and show time information go to www.cygnettheatre.com 

Photo Credit: Berto Fernández, Ariella Kvashny - Photo by Karli Cadel Photography

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