Jordan Wright
October 6, 2014
Special to The Alexandria Times
Sean MacLaughlin as Juan Peron and Caroline Bowman as Eva – Photo credit Richard Termine
When we mention the names Tim Rice and Andrew Lloyd Webber we are floating around in the pantheonic stratosphere of most beloved collaborators ever to hit the stage, and their blockbuster Evita is certainly one of the finest and most memorable shows they have ever written. Drawing on the talents of Tony and Olivier Award-winning Director Michael Grandage, and Tony Award-winning Choreographer Rob Ashford to present the seven-time Tony Award-winning musical, the Kennedy Center brings this reinterpretation of the original Broadway production to a new dimension – and it is simply smashing. There is so much to remark upon and so many to give credit to, but I must start with Lighting Designer Neil Austin and Projection Designer Zachary Borovay who create a mood that reflects the period.
It is 1952 at the funeral of Eva Peron. Considered the spiritual leader of the people of Argentina, she was a highly controversial figure. The curtain opens to reveal old newsreels projected across the backdrop of the stage. The First Lady who had risen from a life of poverty by her wits and beauty, and a series of ever-more influential lovers, had achieved her greatest success by marrying Juan Peron.
A haunting black-hooded, candle-lit chorus is chanting a requiem for her through a smoky blue haze. It is a very dramatic opening, both ghostly and reverential. The scene then shifts to a lowly tango hall in the provinces where Eva, at 16, became a nightclub singer with dreams of a life in Buenos Aires. The shabby spot is lit with strings of bare light bulbs and bathed in sepia – the atmosphere appearing as though lifted from a vintage photograph. In a later scene Austin uses amber-lit chandeliers to evoke the period. Scenic & Costume Designer Christopher Oram continues the theme with muted-colored retro dresses for the women further expressing the drab shades worn during the Depression era.
Caroline Bowman as Eva – Photo credit Richard Termine
From the moment Caroline Bowman (Eva) enters the stage her presence is riveting. Captivating and lithe, almost balletic in her movements, with a voice that is strong, fluid, totally capable of the huge range expected by the part. But why do her low notes disappear, the high notes sound screechy? When the dialogue begins everyone sounds garbled. If you didn’t know the lyrics or the story, you would struggle to make out what they are singing or, for that matter, saying. I can’t explain it, but others around me in the orchestra section were having the same reaction to the poor audio. One can only hope it will be corrected by the time you read this review.
Yet there’s no denying the magic on stage. The fireworks between Eva and Juan (Sean MacLaughlin) begin with the song, “I’d Be Surprisingly Good for You” and by the time the next number “Another Suitcase in Another Hall” is sung, Eva and Juan have formed their alliance, for better or for worse.
“One has to admire the stage management,” Che sarcastically remarks before Eva arrives onto the balcony of Casa Rosada, the presidential palace. In one of the show’s most heartrending songs, “Don’t Cry for Me Argentina” we witness her narcissistic manipulation as she cannily humbles herself to the adoring crowds.
Max Quinlan is brilliant as Che, Eva’s protector and reality check. In his memorable duet with her, “High Flying, Adored” reflecting the time when she is at the height of her popularity, he warns, “Don’t look down. It’s a long way.” But Eva ignores his sage advice and her megalomania gets the best of her. I’d quote her reaction if only I could have heard it.
Yet the orchestra is boffo, the set designs are killer, and the music is heaven on earth. See it, love it, adore it…and try not to sing out loud.
Through October 19th at the Kennedy Center, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.