‘Evita’ Returns With Grand Sets, New Eva, Ricky Martin
Rolling fog suffuses the slums and palaces of Argentina in “Evita,” the second and far better Andrew Lloyd Webber/Tim Rice revival to have opened on Broadway in as many weeks.
Dating to 1979, and more sophisticated in its storytelling and music than “Jesus Christ Superstar,” “Evita” begins with the end: flickering newsreels depicting the state funeral of Eva Peron, whose death at 33 in 1952 concluded a life devoted to power, couture, saintly deeds and ransacking the public coffers.
All her garish shenanigans are eerily rendered in chiaroscuro through the billowing clouds of mist and moody, monumentalist settings in Michael Grandage’s fevered production.
At the center is Elena Roger, a petite Argentine soprano who delivers a charismatic performance as the ambitious nobody who box-springed her way up the power ladder, from the provinces to the Casa Rosa in Buenos Aires as the wife of dictator Juan Peron.
In the first act’s terrific one-two punch, Eva and Juan (the electrifying Michael Cerveris) sing “I’d Be Surprisingly Good for You,” envisioning their plans as cold-bloodedly as the Macbeths.
At the same time, she gives the boot to his current mistress, who ends up on the street below singing “Another Suitcase in Another Hall.” One of Lloyd Webber’s loveliest melodies, it’s beautifully sung by Rachel Potter.
Rice and Lloyd Webber’s audacious idea was to drop Che Guevara (Ricky Martin) into the action. The revolutionary hero comments mostly from the sidelines as the Perons promise redemption to the shirtless poor while stealing everything in sight.
Close, No Cigar
Eschewing the character’s familiar military fatigues and stogy, Martin plays Che (who never had anything to do with Argentina) as a populist observer. He’s more the jaunty, glinty- eyed critic than the embodiment of dashed hopes. In an open shirt and suspendered slacks, his eyes crinkled and mustache a bushy wonder, Martin exudes bonhomie.
That’s not enough to offset the comically shameless Perons, especially given Rice’s compressed libretto. We’re left to connect a lot of dots.
In her Broadway debut, Roger has plenty of the star quality Evita sings about. I worry how long her voice, a little brittle at the top, will hold up, even on a limited performance schedule.
Along with a magnificent sound, Cerveris’s bottomless eyes make up for what’s shortchanged in Peron’s barely sketched character. Max Von Essen plays Eva’s first stepping stone, a provincial entertainer, with just the right dash of pomposity.
Grandage and choreographer Rob Ashford offer two hours of swirling motion with crowds clamoring for human rights and dancers turning tangos into erotic tableaux. It all subtly underpins a score that occasionally swells into grandiosity,
Christopher Oram’s sets take us to grand plazas and to the living quarters of the presidential palace. His costumes range from rough tatters to Evita’s voluminous white-sequined gown, altogether offering knockout visuals.
With his trinity of mesmerizing public figures (the Opera Phantom, Jesus and Eva Peron) on Broadway, Lloyd Webber himself returns to star status. The other names attached to these shows may not even matter.
At the Marquis Theatre, 1535 Broadway at West 46th Street. Information: +1-800-745-3000; http://www.evitaonbroadway.com. Rating: ***
Lincoln Center Theater has moved Amy Herzog’s acutely observed “4000 Miles” into the Mitzi E. Newhouse Theater. The production and its wonderful cast have only deepened in the transition.
Click here for my original review. Rating: ***
What the Stars Mean: **** Do Not Miss *** Excellent ** Good * So-So (No stars) Avoid
(Jeremy Gerard is the chief U.S. drama critic for Muse, the arts and leisure section of Bloomberg News. Any opinions expressed are his own.)
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