REVIEW: ‘Evita’ looks beautiful

Ricky Martin, Elena Roger, and Michael Cerveris star in a romantic revival

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

BROADWAY REVIEW

It’s great to see “Evita” looking so beautiful at the Marquis Theater where on Thursday, after a 29 year absence from Broadway, the Andrew Lloyd Webber-Tim Rice masterpiece returned in a thrilling revival.

Harold Prince’s original concept was dark and stark, but here director Michael Grandage provides a surprisingly romantic look at the astonishing rise and untimely demise of the legendary Eva Peron, a poor nobody from the sticks who became the powerful idol of Argentina in the 1940s and early ‘50s.

Grandly staged more as a bittersweet fairy tale than as a Brechtian epic, “Evita” conquers anew with its rich, ravishing score – it’s my favorite Lloyd Webber work – and its whirlwind account of an amazing life. Rob Ashford’s dynamic choreography, steeped in tango and flamenco modes, gives extra sweep and sizzle to the musical’s memorable songs and Cinderella story.

A petite dynamo from Buenos Aires making a brilliant Broadway debut, Elena Roger sympathetically portrays Eva as a driven soul who is not cynical about her machinations. This Eva never doubts that she is doing the right thing. “Don’t Cry For Me, Argentina” is rendered with utter sincerity.

Depicting Eva with a huge smile and a deep sense of conviction and destiny, Roger sings the demanding role in a clear, strong voice that would be steely were it not for a lovely little vibrato that lends sheen to her vocals.

The sight of this tiny creature fearlessly contending with the tall military men and aristocrats massed against her is especially affecting. Roger’s Argentine accent – everybody else sounds American – nicely suggests Eva’s outsider status. (Christina DeCicco handles the role at certain matinee.)

Michael Cerveris invests considerable personal warmth into the figure of Juan Peron, who truly appears to be devoted to his wife. Their “I’d Be Surprisingly Good for You” duet offers a case of mutual seduction while Eva’s plaintive “You Must Love Me” (added from the film) is supported by Cerveris’ compassionate reactions. The actor’s heroic vocals and courtly demeanor lends great personal dignity to his character.

An animated Ricky Martin cheerfully interprets his narrator’s role as Che as a saucy Everyman figure rather than as a scruffy rebel-in-the-making. Musically commenting upon the happenings in an amused manner, Martin easily sports an insouciant attitude, a mustache and a roguish smile.

The second-rate tango singer who is induced to transport the young Eva to the big city is performed with florid gestures and a first-class voice by Max Von Essen. Demure in the brief role of Peron’s teenaged mistress, Rachel Potter sings “Another Suitcase in Another Hall” with touching purity. A lively 25-member ensemble whirls through the show as a colorful cross-section of the Argentine population.

Grandage’s smooth, picturesque staging and Ashford’s choreography keep the show in nearly ceaseless motion. Christopher Oram’s imposing scenery deploys monumental Beaux Arts architecture to cunning effect. Vintage black-and-white newsreels at times help to set moods. Smoky atmospherics and well-detailed background movement further enhance the musical’s already significant charms.

Designer Neil Austin often casts a richly golden light upon Eva as she ascends from the gutter theatrical to her short-lived glory as a Madonna of the masses. In designing the excellent period clothes, Oram dresses Roger in white or bright high-flying-adored modes that make her shine out against the crowd.

People who already love “Evita” may be surprised by such a glossy treatment of the work, but they are likely to surrender to her ever compelling-ways, especially when the performances are so splendid.

“Evita” continues at the Marquis Theater, 1535 Broadway at 46th St., New York. Call (877) 250-2929 or visit www.evitaonbroadway.com.