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.

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