Wednesday, April 18, 2012

Theater Review: Evita


Elena Roger as Evita. Photo: Johan Persson
The Actress Has Learned the Lines We Want to Hear -- She's Just Not Convincing When She Sings Them
By Lauren Yarger
What a pleasure it is to hear the terrific Andrew Lloyd-Weber score of Evita back on Broadway with enhanced orchestrations (by Lloyd-Weber and David Cullen) giving it a more pronounced Latin sound.

This first revival of the musical (with still awe-inspiring lyrics by Tim Rice) which dominated the 1980 Tony Awards and made stars of Patti Lupone and Mandy Patinkin brings to life 1930s Argentina with stunning sets (Christopher Oram, who also designs the costumes) and a full orchestra (directed by Kristen Blodgette).

Michael Cerveris gives a terrifically full portrayal as fascist dictator Juan Peron, Noteworthy performances also are turned in by Rachel Potter as Peron's mistress (she does a nice job with "Another Suitcase, Another hall") and by Max Von Essen as Migaldi, a sleazy nightclub singer whom Eva uses and discards in her climb to the top.

That, unfortunately is where the praise stops. The casting for the two leads, Argentina's First Lady Eva Peron (Elena Roger) and narrator/observer Che (pop star Ricky Martin), is all wrong. Jaw-dropping wrong. Having heard Director Michael Grandage speak prior to opening about how Argentine native Roger brought such nuance to the part, I have to wonder if he was talking about understudy Christina DeCicco instead. Because of the physical demands the role places on the actress, DeCicco plays Eva at some performances, just as a regular understudy performed  matinees and some performances for LuPone. A musical theater friend of mine saw DeCicco and was "blown away" by the performance, so it must be pretty good. On the other hand, Roger, diminutive in size and in voice, herself appeared to be blown away by the force of the music and of the character to me. She is unable to carry the role of the power seeking, manipulative seductress that is Evita.

Roger's softer voice, which doesn't have real belt capability (think "Rainbow Low" instead of "High"), is better suited to "Don't Cry for Me Argentina" and the tune "You Must Love Me" sung by Madonna (another miscast Eva) in the movie version of the musical which is nicely inserted into this stage version. Roger sings these tunes well and, when she isn't having to concentrate so much on the vocal demands, is able to bring some emotion to the role proving she has skills, Here's hoping she lands a part for which she is better suited.

Also miscast is Ricky  Martin, who spends the show striking a pose as though attempting to fit in as a member of the "Rat Pack."  He merely sings the songs while applying some sort of hand motions meant to convey depth of feeling. "Oh What a Circus" is sung at a slower pace with the words very pronounced -- not with passion. Lost is the role of Che as narrator -- there is no rapport with the audience. Lost also is the rage Che feels about Eva's financial and emotional manipulation of his country's people. The ghost of Mandy Patinkin's iconic portrayal looms heavily over the pop star.

Also disappointing is Rob Ashford's more-is-not-better choreography. With the exception of "Buenes Aires" which employs the full ensemble to create the hustle and bustle of the capital city while skillfully and subtly separating the people into groups of peasants, soldiers and aristocrats, the choreography seems too much, distracts from the action and does little to propel the story. The ballet/wrestling match of "The Art of the Possible" seems almost comical.

Evita plays at The Marquis Theatre, 1535 Broadway, NYC. Discounted tickets are available here.

Christians might also like to know:
-- Sexual moves, activity
-- Sexual lyrics
-- Language
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Gracewell Prodiuctions

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008- 2024 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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