EVITA Remains a Spectacularly Entertaining Musical
At the midpoint of The Muny’s 107th season, it’s been hit after hit, and the audaciously spectacular Evita is perhaps the biggest, boldest hit to date. Eva Duarte Perón was a star long before Tim Rice and Andrew Lloyd Weber’s Evita immortalized its titular character in song, and the musical continues to remain a popular favorite. The Muny’s glamorous, highly stylized production elevated by stunning design, fabulous choreography, astute direction, and captivating performances.
Katerina McCrimmon is the quintessential social-climbing starlet – likeable but ambitious, appealing but not trustworthy, popular with the people, but not from the right class to rule – as the persuasive Eva Perón. The heat and humidity may have caused minor inconsistencies at the edges of McCrimmon’s range, but her sparkling soprano was mostly true, surprisingly powerful, and always pleasant. And her effusive, emotionally connected performance alone is worth the price of admission, but this show offers much more.
Omar Lopez-Cepero is charming, when he wants to be, but mostly sharp witted, sly, and outspoken as Che, with a strong baritone that suits the character well. Lopez-Cepero bounds about the stage, a shadow puppet challenging Eva and her husband while guiding the audience through their story with knowing skepticism. McCrimmon and Lopez-Cepero create tension between Eva and Che that’s visceral and urgent, though the two never interact within the story. The “Waltz for Eva and Che” is mesmerizing, with the insistent underlying rhythm of the fire that drives two distinctly different but nonetheless revolutionary characters.
Paulo Szot is solid as Perón, with a nice voice and always-at-attention posture that compliments his military background and rigid politics. Perón isn’t always comfortable with the bargain he’s struck with Eva. And that bargain, the logically seductive “I’ll Be Good for You,” is an unexpected highlight in a score filled with memorable songs. It’s a number that usually feels like pure exposition turned into an irresistible devil’s bargain.
Sabrina Santana is lovely as Perón’s mistress, her effortless singing a perfect compliment in “Goodnight and Thank You.” It and “The Art of the Possible” have a more dissonant tone, pushing the story forward through “Another Suitcase in Another Hall.” Daniel Torres is self-serving but not cruel as Magaldi, and “On This Night of a Thousand Stars” is well sung if a bit cheesy. “Requiem” sweeps the audience back in time with an emotional tug and “A New Argentina” closes the first act with hope, as well as pomp and celebration. The second act features the beloved “Don’t Cry for Me Argentina,” and McCrimmon and The Muny pull out all the stops, ensuring the number is the satisfying, showstopping (potentially tear inducing) moment intended.
The set design, video projections, and period costumes are opulent and detailed, with projected banners reflecting the political temperament of Argentina from 1934-1952. Josh Rhodes directs in a stylized manner, reflecting the era with nods to modern sensibilities. Rhodes makes notable choices, particularly the use of mobile spotlights, which heighten dramatic tension. Musical direction by Ben Whiteley is tight and thematically well integrated, capturing the story’s emotional timbre. There are several numbers that recall Jesus Christ Superstar, and Che often mirrors Judas in tone and characterization, but strong direction and musical focus consistently recenters the score on Argentina and Eva.
The choreography is much more dynamic and integral to the story arc here, however. In fact, it’s this aspect of this production of Evita that really captivates and ensures the show stands out from other productions. Choreographed by Rhodes, with tango choreography by Junior Cervila, the dances are steeped in Argentinian traditions and infused with modern elements that add to the urgency and emotional tone of the story. And the tangos reverberate with passion and a vibrant energy that flirts with the edges of danger. The choreography is exuberant, almost rebellious, echoing the sense of insatiable desire and ambition with every beat.
The last Muny production of Evita was more than 20 years ago, making this still popular show an easy choice for the season that exceeds expectation with a big, glamorous splash. Suitable for most ages, with a quick pace that keeps everyone engaged, Evita is a well-performed and appealing musical and a must see for fans of the show – making it an excellent choice for anyone longing for a big, thoroughly enjoyable Broadway-style spectacle.
