Few musicals in Broadway history have demonstrated the staying power of Evita, the Tony Award-winning musical that opened on Broadway 30 years ago. Now, under the crisp direction of Michael Grandage, Evita’s first revival is touring the country on its way back to Broadway. The “new” Evitaloses none of the power that first propelled the show to hit status and guaranteed the careers of Tim Rice and Andrew Lloyd Webber. The national tour played in Milwaukee for a one-week run.
As most musical-theater lovers know, Evita traces the rise and fall of a teenager named Eva Duarte, who quickly moves from the slums of Argentina to the presidential mansion as First Lady. An actress who never seems to leave the stage, Eva ensures that she’s the center of attention in fashion magazines and radio broadcasts. Along the way, each of her lovers is summarily discarded when she sees an opportunity to move up in status.
Eventually, she comes across an ambitious military colonel named Peron. Their marriage seems more of a business arrangement than a love affair. Eva is adored by the masses, even as the country slips into bankruptcy. Ironically, only Evita’s fragile health stops her from seizing even more power.
So what’s different about this version? For one, Carolyn Bowman sizzles as the manipulative Eva Person. She is a dancer more than a singer, and she takes Rob Ashford’s brilliant choreography to a new level. This Eva is young, slightly built and blatantly ambitious. Bowman is totally convincing as a young girl who sleeps her way to the top. She demonstrates more than enough talent to carry the show, but it’s hard to tell whether she has enough sparkling star quality to prevail.
Perhaps even more impressive is Josh Young as Che, the story’s narrator. He is a commanding presence onstage, and occasionally steals the spotlight from Eva. Although it’s impossible to predict whether he will be replaced when the show finally hits Broadway, one can’t imagine a finer performer for this role.
Evita’s success is primarily in its music, which includes songs such as “Don’t Cry for Me, Argentina” and “High Flying, Adored.” The Latin flavor seems more prominent in this version, especially in the choreography. Ashford’s choreography is perfectly in sync with the music. Each member of the chorus is spot-on in performing the slinky salsa moves or the crisp, sharp lines of the tango. The orchestra sounds excellent throughout.
As for the rest of the cast, Sean McGlaughlin does a good job as the stiff, military-trained Peron. He never seems to soften, not even when he’s seducing Eva. There is temporary chemistry between them when they first meet (“I’d Be Surprisingly Good for You”), but this quickly evaporates under the pressure of a presidential campaign. Peron’s generals stomp about in a huff, dismayed at the attention Eva attracts. On the technical side, the show impresses with fabulous sets and costumes. Although one expects Evita’s designer outfits to be perfection, equal attention is paid to the costumes worn by the masses. Most of these are in shades of browns and golds. The women’s full skirts, consisting mainly of silk, twirl prettily during the production numbers. This Evita is certainly an eyeful from start to finish, and one can only guess how far it will eventually go.
