By Joel Applegate
The art of the possible puts art and politics in bed together. That’s what’s so compelling about Evita, the 1978 musical that maybe some might think is past its time, but no; the marriage of politics and power is still as relevant as it ever was.
For those unfamiliar with the historical record, a brief primer: Following a career in radio and film, Eva Duarte was married to Argentine Army Colonel Juan Peron in 1945. The colonel was elected president the following year and Eva served as First Lady until her death in 1952 from cancer. Evita tells the story of how she rose from poverty to “Spiritual Leader of the Nation of Argentina”. What is extraordinary about her life is that her influence was monumental – even mythic now – despite her never holding political office. Thus, the whole story is subject to opposing interpretations and is not the stuff of sainthood. More than a musical, this fascinating operetta explores all of that.
The story begins at the end. The ensemble cast makes a stirring entrance carrying Eva’s casket down the center aisle, ending in tableau. From there, the narrator of the piece, Che, takes us back to a teenage Eva; ambitious, pretty and already eager to leave her short past behind her.
Historic newsreels appear on the screen at the back of the stage. This device is used throughout, deftly incorporated into the set design by Justin Jenkins. The video idea mostly works, placing us in context and history. The projections worked really well in cafe scenes and other interiors. However, there were moments where less would have been more. The moving images of the newsreels stole focus a few times, especially in Eva and Peron’s last scene together. A still would have worked better, instead of the film clip that took our attention away from a critical moment in these actors’ really great performances.
And great they are. As Eva Duarte Peron, Erin Royall Carlson possesses a fantastic, throaty voice over which she maintains excellent support and control. Carlson’s great accomplishment here is that she doesn’t lose her character in her beautiful voice. Her first trio with two of the excellent ensemble is bright and lovely to listen to. Carlson’s amped ambition builds throughout the first act as she sets about assuming power’s mantle. Eva’s signature song is, of course, “Don’t Cry for Me, Argentina”. If ever Broadway produced a pop aria, this is it. Carlson’s uncluttered voice soared in this and I wasn’t disappointed in the moment I was most looking forward to. I think I was holding my breath the whole time. I am entirely impressed with Carlson as both actor and singer in equal measure.
Leading the men, William Cooper Howell as Che got the attitude really right. Maybe he sneered a little too often, but his tenor is clear and his range is broad, though perhaps a little challenged in the falsetto range. Howell proves to be an athletic and nuanced dancer as well. David Weekes as Juan Peron has an operatic clarity to every note. His excellent vocals are both profound and tender.
Two steps on Eva’s ladder upward deserve special mention. As Migaldi, a popular singer, Monte Garcia sings in a soothing, strong tenor. “Night of a Thousand Stars” was really a pleasure – I wish it had lasted longer. Erica Walters as Peron’s jilted mistress shines in her one moment singing “Another Suitcase, Another Hall” clearly and with poignancy.
Let me make it clear that I think Evita gave us some of Broadway’s best music ever written. The score is majestic, the melodies unforgettable and the lyrics informative and passionate. And these performers are exceedingly talented and more than fit for their roles. Anne Puzey’s musical direction and conducting is superb.
But. This production has some serious sound problems. They can, I hope, be fixed quickly. The vocal gain was almost too high on the personal mics. Yet the orchestration, in the opening numbers anyway, overwhelmed vocals. The whole volume level was a touch too loud for the medium-sized theatre. Everything seemed too loud for the space. Che’s mic seemed calibrated wrongly for his voice. And as excellent as the work of the ensemble is, it was odd that some of the individual solo lines tossed out could barely be heard. The criticism I have is not about performance, but purely technical. The balance between the vocals and the very capable, small live orchestra just wasn’t right. A sound engineer needs to thoroughly check over the mix.
The direction by Amber Hansen is well suited to the theatre. The spare staging works very well with the action taking place among set pieces easily accommodating scene changes. They lend intimacy to the story, while the film sequences projected on the back wall give it its context in the world. The lighting by Peter Mayhew took an active role, using the instruments to focus attention and add enhanced dramatics.
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I loved the choreography. It was fascinating, balletic and acrobatic. I do have to concede a point to my seat companion though; the Generals in their “Art of the Possible” number reminded him of oompa loompas rather than the militaristic moves usually highlighted in other versions of this number.
Costumers Jaxine Rogers and Jeanne McGuire did a magnificent job costuming Eva’s nearly one dozen outfits. I’ll never forget the picture of perfection as Eva sang her signature piece clad in bare-shouldered white accented only in a serene blue sash.
Two men in the ensemble – you know who you are: Guys, you need haircuts. You could make it a guys’ afternoon out – a bro-date – or invite a barber to your man cave. Doodz, I’m doin’ you a solid here… the hair simply ain’t right for the historical period or the military uniforms you wear in many scenes. When compared to the other guys on stage, the floppy coifs are weird and distracting.
For all of that, I loved this show. I really did. I can’t stop humming the tunes, and what I do to them in the shower shouldn’t be discussed. But bear with me for one more beef: Why aren’t the musical numbers listed in the program? I’ve never seen them omitted before for a stage musical.
The Egyptian Theatre is a venerable venue (my bad, I couldn’t help that) on Main Street in Park City. It opened on Christmas Day, 1926, and has been wonderfully restored. The space’s Egyptian motif is charmingly evoked and the seats are old-style, but comfortable. It’s a great place to see a play. And you really ought to see this one.
Evita July 5 – 28, 2013. Thursdays, Fridays and Saturdays at 8:00 pm, and Sundays at 6:00 pm.
Egyptian Theatre, 328 Main St., Park City, Utah 84060
Phone: 435-649-9371
Website: www.egyptiantheatrecompany.org
TICKETS: Reserved $39 Advance/ $44 Door
Front-of-House $ 49/ $54 Door
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