REVIEW: Evita

A Review

Highly Flying and Adored

By R. J. Donovan

The production of “Evita” that’s come to town for two weeks at The Colonial is just fine, some 25 years after its first staging.

The mega-musical telling the larger than life story of Eva Peron, First Lady of Argentina, originally came to life in the mid seventies as a concept album. Collaborators Andrew Lloyd Webber and Tim Rice took the same route with “Evita” they had previously taken with “Jesus Christ Superstar” -- create a full story and score, introduce the work to the world via a double album recording and then bring the work to the stage.

The album shot to the top of the charts, and in 1977, Webber approached Hal Prince about staging the show. In 1978, with Prince directing and Larry Fuller as choreographer, “Evita” opened at London’s Prince Edward Theatre. Starring Elaine Paige, the show racked up the highest box office advance in West End history.

The same creative team (with designers Tim O'Brien and Tazeena Firth) brought the production to Broadway in 1979 where it swept the Tony Awards, collecting 7 top prizes and playing to standing room houses for four solid years.

Since then, “Evita” has been performed in 28 countries and 14 languages. The production now in town has the distinction of being directed by Fuller and supervised by Prince. How can you go wrong with the two guys who created the original -- the likes of which had never before been seen.

Presented as a flashback, “Evita” begins with the death of Eva Peron from cancer at the age of 33. We then jump back in time and follow Eva’s life from the age of 15. We’re in a nightclub in Junin, Eva’s hometown, and she's trying to persuade the club’s singer, with whom she’s had an affair, to take her to Buenos Aires. He does, after which she shamelessly sheds herself of him in turn for a succession of men who help her up the ladder of success as she becomes a model and film actress.

From the fame and fortune of show business, the opportunistic Eva switches her loyalties to the political world when she meets Colonel Juan Peron at a charity concert. Together, but with her serving as the cunning driving force, they shoot for the Argentine Presidency.

In the process, she endears herself to the workers -- the descamisados -- who back the pair with enthusiasm. And when Peron becomes President, it’s Evita who draws the delirious chants of the crowd.

Throughout the story, Che Guevara serves as a sort of critical narrator. While there is no proof that Guevara ever met Eva Peron or was in any way involved with her or her husband, it is a fact that he was strongly opposed to the Peron regime during Eva’s lifetime.

At the center of the story is Kathy Voytko (left) who comes to the role of Evita straight from the recent Lincoln Center production of “The Frogs” where she appeared opposite Nathan Lane.

With more than a passing physical and vocal resemblence to Patti Lupone, Broadway's original Evita, Voytko could be more explicit in showing the depths of her brazen maneuvering. She does however, demonstrate her character’s colors in the show's anthem, “Don’t Cry For Me Argentina” where we witness the angelic humility of the public face contrasting with the cutthroat reality of the woman behind the frozen smile.

As Juan Peron, Philip Hernandez (above with Voytko) lives in the shadow of his more powerful partner. Kate Manning, as Peron’s former mistress, does a very nice job with “Another Suitcase in Another Hall.” And as Magaldi, the greasy nightclub vocalist, Gabriel Burrafato shows off a dynamic singing voice in “Night of a Thousand Stars.”

As Che, Bradley Dean (left with Voytko) has one of the best numbers in the show -- “And The Money Kept Rolling In and Out.” And he sings it for all it’s worth.With Eva’s domination of Argentine life in full swing, she sets up the Eva Peron Foundation, a scam organization that provides little financial benefit for anyone except Eva. She is subsequently elevated to even greater heights by the very citizens whose loyalties are being throttled. Supported by the full cast, Dean brings the powerful number to an exuberant finish.

After almost three decades, much of "Evita's" original staging is still inspired. The game of musical rocking chairs by the colonels; the individuually lit faces of the cinema audience; the choreographic juxtaposition of the Army and the Aristocrats; and the two tango dancers who mirror Eva's engineering of Peron.

Born poor and illegitimate, Eva Duarte had become the most powerful woman in Argentina when her duplicitous life was cut short in 1952. Even so, her name lives on.

"Evita" is at The Colonial Theatre, 106 Boylston Street in Boston, through November 14. For information, call 617-931-2787.

Production Photos: Joan Marcus

-- OnStage Boston

11/07/04

			A Review Highly Flying and Adored By R. J. Donovan The production of “Evita” that’s come to town for two weeks at The Colonial is just fine, some 25 years after its first staging. The mega-musical telling the larger than life story of Eva Peron, First Lady of Argentina, originally came to life in the mid seventies as a concept album. Collaborators Andrew Lloyd Webber and Tim Rice took the same route with “Evita” they had previously taken with “Jesus Christ Superstar” -- create a full story and score, introduce the work to the world via a double album recording and then bring the work to the stage. The album shot to the top of the charts, and in 1977, Webber approached Hal Prince about staging the show. In 1978, with Prince directing and Larry Fuller as choreographer, “Evita” opened at London’s Prince Edward Theatre. Starring Elaine Paige, the show racked up the highest box office advance in West End history. The same creative team (with designers Tim O'Brien and Tazeena Firth) brought the production to Broadway in 1979 where it swept the Tony Awards, collecting 7 top prizes and playing to standing room houses for four solid years. Since then, “Evita” has been performed in 28 countries and 14 languages. The production now in town has the distinction of being directed by Fuller and supervised by Prince. How can you go wrong with the two guys who created the original -- the likes of which had never before been seen. Presented as a flashback, “Evita” begins with the death of Eva Peron from cancer at the age of 33. We then jump back in time and follow Eva’s life from the age of 15. We’re in a nightclub in Junin, Eva’s hometown, and she's trying to persuade the club’s singer, with whom she’s had an affair, to take her to Buenos Aires. He does, after which she shamelessly sheds herself of him in turn for a succession of men who help her up the ladder of success as she becomes a model and film actress. From the fame and fortune of show business, the opportunistic Eva switches her loyalties to the political world when she meets Colonel Juan Peron at a charity concert. Together, but with her serving as the cunning driving force, they shoot for the Argentine Presidency. In the process, she endears herself to the workers -- the descamisados -- who back the pair with enthusiasm. And when Peron becomes President, it’s Evita who draws the delirious chants of the crowd. Throughout the story, Che Guevara serves as a sort of critical narrator. While there is no proof that Guevara ever met Eva Peron or was in any way involved with her or her husband, it is a fact that he was strongly opposed to the Peron regime during Eva’s lifetime. At the center of the story is Kathy Voytko (left) who comes to the role of Evita straight from the recent Lincoln Center production of “The Frogs” where she appeared opposite Nathan Lane. With more than a passing physical and vocal resemblence to Patti Lupone, Broadway's original Evita, Voytko could be more explicit in showing the depths of her brazen maneuvering. She does however, demonstrate her character’s colors in the show's anthem, “Don’t Cry For Me Argentina” where we witness the angelic humility of the public face contrasting with the cutthroat reality of the woman behind the frozen smile. As Juan Peron, Philip Hernandez (above with Voytko) lives in the shadow of his more powerful partner. Kate Manning, as Peron’s former mistress, does a very nice job with “Another Suitcase in Another Hall.” And as Magaldi, the greasy nightclub vocalist, Gabriel Burrafato shows off a dynamic singing voice in “Night of a Thousand Stars.” As Che, Bradley Dean (left with Voytko) has one of the best numbers in the show -- “And The Money Kept Rolling In and Out.” And he sings it for all it’s worth.With Eva’s domination of Argentine life in full swing, she sets up the Eva Peron Foundation, a scam organization that provides little financial benefit for anyone except Eva. She is subsequently elevated to even greater heights by the very citizens whose loyalties are being throttled. Supported by the full cast, Dean brings the powerful number to an exuberant finish. After almost three decades, much of "Evita's" original staging is still inspired. The game of musical rocking chairs by the colonels; the individuually lit faces of the cinema audience; the choreographic juxtaposition of the Army and the Aristocrats; and the two tango dancers who mirror Eva's engineering of Peron. Born poor and illegitimate, Eva Duarte had become the most powerful woman in Argentina when her duplicitous life was cut short in 1952. Even so, her name lives on. "Evita" is at The Colonial Theatre, 106 Boylston Street in Boston, through November 14. For information, call 617-931-2787. Production Photos: Joan Marcus -- OnStage Boston 11/07/04

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