Past Reviews

Regional Reviews: Cincinnati


Evita
National Tour


Caroline Bowman and Josh Young
Though Jesus Christ Superstar, Cats, and The Phantom of the Opera may be Andrew Lloyd Webber's best known shows, Evita, one of his collaborations with lyricist Tim Rice, may be his finest work. The current national tour, based on the Broadway revival from 2012 and now playing at the Aronoff Center in Cincinnati, is a high-octane production featuring strong performances, brilliant choreography and direction, and wonderful design elements.

Evita explores the historical life and times of Eva Perón, wife of post-WWII Argentine dictator Juan Perón. The show emphasizes Eva's unbridled ambition and follows her rise from poverty to celebrated "saint" of a nation as wife of the President. Webber and Rice use the character of Che (very loosely based on Che Guevara, a real-life Argentine revolutionary) to serve as narrator for the story. He comments and criticizes Eva and her actions throughout the show, and explains the social and political impact of her ascent.

The musical is a pop/rock-opera, with no dialogue and told entirely through song. While Webber and Rice had previously used this format successfully for Jesus Christ Superstar, it was with Evita that their collaboration fully blossomed. Their score is highly theatrical and perfectly suited to the gripping story. Webber succeeds musically with the beautiful "High Flying Adored," the fast-paced "Buenos Aires" (showing Eva's arrival to the big city) and, of course, the famous "Don't Cry For Me Argentina," among others. Rice's biting and efficient lyrics are best on display in "Goodnight and Thank You," where Eva quickly dispenses of consecutive lovers once she has used them to move up the social ladder; the comical "Rainbow Tour"; and "And The Money Kept Rolling In," Che's angry account of Eva and Juan's financial raping of the country.

Unlike previous tours that used direction and dances based on the original Broadway production by Harold Prince and Larry Fuller, this revival takes a fresh approach to the material and the results are often stunning. Director Michael Grandage provides smooth transitions and a new clarity to the storytelling, especially evident in "A New Argentina" and "Rainbow Tour." Mr. Grandage's use (but not overuse) of archival footage is effective, and there is an intelligent coup de theatre in the final scene. Moments from Mr. Prince's clever staging are missed, but this is a worthy alternate take on the material. This version also has excised a few short dialogue scenes, making it a slightly more efficient Evita as well. Rob Ashford's choreography aptly uses the tango, with the dance presented at varying speeds to convey different emotions, and integrates movement throughout the show extremely effectively. "Buenos Aires" is as visually stunning a dance production number as you will see. Musical director William Waldrop leads a great sounding band.

As Eva, Caroline Bowman provides a potent and textured singing voice, mixing a belt with head voice appropriately. Her acting allows the audience to both loathe and empathize with the complex character. Ms. Bowman is at her best during "I'd Be Surprisingly Good For You" and "Rainbow Tour." Josh Young (Judas in the recent Broadway revival of Jesus Christ Superstar) supplies excellent and passionate vocals as Che, and captures the mocking and anger of the character with aplomb. Both actors provide clear diction in their singing, even if there's little evidence of an attempt to adopt an Argentine accent. In the far less showy role of Juan Perón, Sean MacLaughlin sings well and is suitably stately. Christopher Johnstone (Magaldi) and Krystina Alabado (Mistress) impress in their supporting roles. The ensemble members assert themselves well in their execution of the remaining roles, and dance up a storm.

The classy and handsome scenic and costume designs are by Christopher Oram. Both components are nicely detailed, period appropriate, and functional. The theatrical lighting by Neil Austin is exceptional, with beams of light shooting through stage fog, as well as effects rendered through candles, backlighting, shadows, and other sources.

Evita possesses a strong score by Andrew Lloyd Webber and Tim Rice. The current national tour is a departure from the original version, and boasts great direction and choreography, attractive designs, and a talented cast.

Evita continues at the Aronoff Center in Cincinnati through March 2, 2014. Tickets can be ordered by calling (800) 294-1816. For more information on the tour, visit www.evitaonbroadway.com/tour.html.


Photo: Richard Termine

-- Scott Cain


Also see the current Cincinnati Area Theatre Schedule