Evita @ North Texas Repertory Theatre
—Teresa Marrero
Evita ages well.
Originally opening in 1976 in London’s West End as a rock opera, with music by Andrew Lloyd Webber and lyrics by Tim Rice, this story of the life of Evita Peron, the second wife of Argentine president Juan Perón, quickly moved to Broadway for a long run. It was the first British musical to win a Tony Award for Best Musical. Currently performed by the North Texas Performing Arts Repertory Theatre (NTPA) at the Rodenbaugh Theatre in Plano, Evita still vibrates with a solid plot and memorable singing.
In broad strokes, the story begins with young but willful Eva Duarte, later Perón, and her modest beginnings as the countryside love child of an absent upper middle-class father. Eva’s ambition to gain recognition, to be someone, drives her from relationship to relationship with men who can further her career—until she finally arrives in Buenos Aires, the capital of Argentina. Here she meets Juan Perón, a general whose larger-than-life ambitions match her own. She supports his political career, aligning herself with the descamisados, the poor workers (literally, the shirtless), and disdaining an oligarchical class that shuns her for her background.
The musical begins with historical footage of Eva’s renowned death procession through the streets of Buenos Aires in 1952. Then time jumps backwards, as we watch Evita Duarte become Eva Perón, and transform from a brunette to a world-class platinum blonde, dressed by the likes of Christian Dior. She makes international news as a figure of supportive womanhood and a champion of the poor—though the reality is more complicated. But Evita’s ambition to be recognized as a political figure in her own right is cut short. Afflicted at a young age with cervical cancer, upon her death she becomes Santa Evita, the common people’s adored saint. They continue to see and love her as a representation of themselves, rising from nothing to the heights of power through her own effort and volition.
In the title role, Ash Christine carries the weight of singing and performing this story with an impressive set of pipes. Christine delivers on all aspects of her performance, from highs to lows in both the musical and emotional range. Along with her is the impressive voice and performance of Christian Thrailkill as Che, who provides the narrative motor and critical eye of the fictionalized Argentinean revolutionary, Ernesto Che Guevara. John Sanchez as Juan Perón matches his co-stars in presence and pathos. And although Bella Zambrano’s role as Perón´s mistress is brief, her singing remains a memorable moment. As Eva´s first lover, Augustín Magaldi, Malik Offor acted the part, but his voice seemed a bit off at times.
The Chorus consistently came through without a flaw. Ensemble members include: Melania MacDonald, Conchita Moreno, Jacob A. Fisher, ChiChi Omeoga, Clara Moos, Matt John West, and Michael Valderas.
The singing was the strongest element of the show; choreography seemed somewhat stiff and the dance numbers lacked energy. However, if one has to choose between marvelous singing and less shiny choreography, a focus on strong vocals makes the entire experience more than worthwhile.
The Rodenbaugh Theatre at Willow Bend Center for the Arts is nestled inside the Willow Bend Shopping Center, if you (like me) are a first-time audience member. There are signs outside pointing to the theater entrance, and during the Saturday, March 11th matinee American Sign Language interpretation was provided.
Direction by Pamela Anglero, with Co-Director MD Christian, and Music Director Billy Veer. Choreography by Leah Flores, Lighting by Max Fetter, Set Design by Jo Alamares and Costumes by Lisa Rodenbaugh.
Teresa Marrero is Professor of Latin American and Latiné Theatre in the Spanish Department at the University of North Texas.
WHEN: Through March 19
WHERE: Rodenbaugh Theatre, Willow Bend Center for the Arts, Plano
WEB: ntparep.org
