Review of Evita
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Directed by Lauren Miller
Music Direction by John Partridge
Sonoma Arts Live
For tickets / schedule :
Sonoma Community Center, Sonoma
RUN: January 20 – February 5, 2017
RATING: 4 of 5 stars
(January 28, 2017)
Was Eva Peron a saint of philanthropy who gave hope to a nation, or a corrupt social climber? Both views are explored through memorable music that will keep you humming for days with beloved songs such as “On This Night of A Thousand Stars” and “On The Balcony of The Casa Rosada”. A story that constantly questions itself, as examinations of history should, it does not shy away from the power of a well crafted public image that is designed to manipulate those struggling in poverty—a technique that has been used throughout the world to take control of a country. Hung in the lobby and as a dramatic backdrop, graffiti of Evita and Peronism remind the audience that the president and his wife were admired and despised in Argentina.
Set designer Bruce Lackovic creates a harsh urban environment of primitive scaffolding, keeping the projections as secondary texture, rather than dominating the stage. Occasional use of the levels adds interest, but clambering in and out, ducking under low railings is visually awkward. Music Director John Partridge discovered the synth keyboard languishing in a closet, and brilliantly arranged the score to work with a much smaller core group of musicians. The chorus also faced challenges as the harmony moved from an extensive supporting cast to only four, one of whom was replaced during rehearsals. The energy and concentration that is expended to compensate for the lack of usual chorus adds a touch of unnatural enthusiasm to the diminished cast, who do their best to fill in the gaps.
Ellen Toscano’s Evita glows with passionate stage presence. Elegantly seductive, she wins the hearts of lovers and audience alike, with explosions of righteous indignation and melting tenderness mingling into the singular woman that was Eva Peron. Robert Dornuss III (Che) is a compelling critical narrator, who shapes the lyrics with clear enunciation and a soothing voice. Michael Conte as Juan Peron and Tod Mostero’s Agustin Magaldi give her strong support with rich tones and poise on stage. The dynamic choreography of Evita is missing in this production, partly due to space considerations, and its lack of presence is felt acutely with the rather stagnant blocking. It is the story and music that form the primary emphasis of this smaller scale adaptation, and they are still a joy to experience on their own. Lauren Miller and Ruth Dunn’s costume designs are an array of glamorous luxury and work attire, standing out in the industrial background for a dramatic effect.
The bewitching magnetism of Evita infuses Sonoma Arts Live through Ellen Toscano’s enticing performance as Eva Peron, and a unique adaptation of the sprawling Broadway favorite to an intimate venue.