Evita

If you've followed Billy Ensley for the past three years, you'll notice that Charlotte's preeminent triple threat has expanded his horizons as a singer and an actor. To effect his startling transformations -- most memorably as Fagin in Oliver! and as the lead rocker in Hedwig and the Angry Inch -- Ensley has radically changed his look.

He brings the same approach to directing Theater Charlotte's compelling production of Andrew Lloyd Webber's Evita. As many times as you've seen the wholesome Patrick Ratchford -- as Curly in Oklahoma! or as Ravenel in Show Boat -- you won't recognize him as Che Guevara without your program. Long, greasy hair cascades from his beret while a muddy coloring distorts the fiery guerrilla's face.

The urbane Dennis Delamar, curves shaved away from his eyebrows, doesn't bear a strong resemblance to Argentine strongman Juan Peron, but he has the steely stare and the beefy brutishness of a true fascist pig.

You can't help but think that Ensley has had a hand in both of these remarkable metamorphoses. He worked wonders with Cat Zeggert when she starred in Sweet Charity last year. Now she evolves convincingly as Eva Peron, from opportunistic country wench to national ambassador to holy icon -- with a sequence of wigs to accompany her changes in attitude and stature.

At least that's what appears to happen under Ensley's direction. Musical director Scott McKenzie's obnoxious octet drowns out all clear communication between Eva and audience at the by-invitation-only opening night performance. If they finally do put a muzzle on McKenzie & Crew after week number one of the run, there's no guaranteeing Pat and Cat won't have wrecked their voices in combat before week two.

Ratchford, mostly roaming across the downstage for Che's narrative and vocals, usually stays afloat above the orchestral tidal wave. But the Cat mostly capsizes, sometimes a faint cry for help for as much as 15 minutes at a time. Not that Zeggert isn't outfitted with a body mike. When she's stripped down to her silky undergarments, in fact, the huge contraption strapped on her back makes her look like a suicide bomber.

Linda Booth's choreography for the military and tango segments adds to the glamour and the bite. But other ensemble pieces are strangely static. Matthew Corbett's set design, a boxy and gloomy affair, isn't at all spectacular. Still, it gives the production an old-timey documentary flavor you may like. Mindy Bass's smart costumes are hugely helpful in delineating character and situation when the scenery isn't up to the task. Despite a major snafu on Eva's final exit, lights and slide projections run effectively.

It's alll a mixed bag, to be sure. Zeggert, Ratchford and Delamar don't always get flattering support, but their intense work lifts the overall effort above mediocrity. And TC's Evita conclusively demonstrates that Ensley is a visionary director.