One powerful ‘Evita’

She was an illegitimate child born in an obscure South American village. When she died at 33, she held the official title of “Spiritual Leader of the Nation,” and the crush of grief-impassioned crowds caused eight more deaths and over 2000 injuries. Who was she? What was she?

In 1978, Andrew Lloyd Webber and Tim Rice immortalized in music the already immortal Eva Peron, Argentina’s first lady. The result, “Evita,” became a London and Broadway smash, winning seven Tony Awards. Now playing at Riverside, this is truly a step up and beyond the traditional dinner theatre fare.

For director Patrick A’Hearn, it was a labor of love. In this highly visual and detail-oriented work, bold artistic choices prevent the material from lagging or getting lost in the music-heavy book. An exceptionally strong cast brings it to life.

While the play begins and ends with the 1952 funeral, A’Hearn pulls the audience immediately in with actual newsreel footage and continues this device at intermittent historical moments.

Strong vocals are a given at Riverside, but in this case, acting and dancing skills are equal to the extraordinary voices. Chief among them is the title role played by Erin Huss who not only sings like an angel, but bears a fair likeness to the real Evita. Her theme, “Don’t Cry for Me, Argentina,” is delivered with both comfortable timing and exquisite delicacy.

Che Guevara (Thomas McNeal), omniscient voice of The People, narrates, comments, and occasionally interacts. It’s not easy competing with those blood-stirring posters of the revolutionary CHE!, but McNeal carries the role with panache.

For every Eva there has to be a Juan, and Gary Best is every inch the calculating politician; clearly his first thought is what’s best for Juan, and Eva convinces him with “I’d Be Surprisingly Good for You.”

Some scenes stand apart for their “POW! factor.”

“Goodnight and Thank You” humorously portrays Eva’s revolving door of lovers, each a stepping stone on her way up. Peron’s ascent to power is also illustrated in a captivating bit of whimsy. Five generals play musical chairs, but of course only one can win.

Not everyone loved Eva. “Peron’s Latest Flame” alternates complaints between a stylized group of society types and a high-stepping unit of military officers. This is can’t-look-away sharp - and funny.

Contrast this scene with “Santa Evita.” A group of children and ordinary working peasants, predictably enchanted by one from their midst attaining power, sing of her as their country’s savior. This one could melt a heart of stone.

Before there was Eva, there were many mistresses, and Carley Burtt has a brief, shining moment with “Another Suitcase” as she is tossed out of the bedroom and the heart of Argentina’s president.

I have a particularly low tolerance for dancing that is sloppy, lazy, or out of sync, which is why the charity concert scene with “On This Night” is so exciting. Not only does the ensemble do justice to the zingy choreography of Samantha Graves, they are accented by a pair of tango dancers that should set your pulse racing.

Phil Carlucci’s set design recreates the balcony and courtyard of the Casa Rosada, which serves as a backdrop for the many open air scenes; his lighting design is key in separating interior scenes.

Patricia Lynch and Barbara Cochran’s costumes accurately suit the times, characters, and class. A few of the original Eva Peron Broadway costumes are also making an appearance in this show.

If there’s any drawback, it’s one that the director can’t help. That is the singing of dialogue, which has become a staple of the “pop opera” form. Many in the American theatre-going public (and by that I mean “me”) find dialogue singing not just annoying, but a hindrance to character connection. Unfortunately, it’s part of the package and there’s nothing they can do about it.

On the plus side, that alone can’t diminish the remarkable strengths of this “Evita.”

Eva Peron may mean little to North Americans, but we, too, have witnessed what happens when the public reserves irrational adoration for the wife of a powerful figure. (Remember the “People’s Princess?”)

Surely there is something to be said for those brief, romantic lives that go shooting through the firmament, and in the case of Evita, Webber and Rice said it best.

Margaret Lawrence is a member of the American Theatre Critics Association. She teaches drama and English at CCHS.

Want to go?

What: “Evita”

Where: Riverside Dinner Theatre, Fredericksburg

Call: (540) 370-4300 or
visit riversidedt.com

Playing through Sept. 13