Susan Granger’s review of “Evita” (Marriott Marquis Theater: 2011-2012 season)
Pop star Ricky Martin steals the show in this first Broadway revival of Andrew Lloyd Webber and Tim Rice’s “Evita.” While Mandy Patinkin, who originated the role, played an overtly angry Che, Martin subversively mocks not only opportunistic Eva Peron but also those who worshipped her.
“Evita” chronicles the spectacular rise of ruthless, ambitious Maria Eva Duarte, a one-time radio actress/social outcast who blithely seduced and bedded suitors, starting with nightclub singer Magaldi (Max von Essen), who took her to Buenos Aires, where she met and married pompous Colonel Juan Peron (Michael Cerveris), serving as First Lady of Argentina from 1946 to her death from cancer at age 33 in 1952. As the first ’glamorous’ female political celebrity of the 20th century, she cut a hefty swath through Argentina’s treasury yet endeared herself to poor, working people through her charity work. As the observant Everyman known as Che, Ricky Martin, oozing charisma and “star quality,” commands the stage, giving sardonic commentary to her every move as a Zelig-like historical precursor to the inevitable military coup which ousted Peron.
Thirty years ago, Elaine Page and Patti LuPone were the formidable West End and Broadway stars, while Madonna did the 1996 movie version. As the first Argentine to play the title role on Broadway, Elena Roger gets the accent right but very little else. The real Eva Peron was 5’5” tall, a calculating, commanding presence, while petite Elena Roger – standing barely 5-feet, weighing 98 pounds – seems more suited to playing songbird Edith Piaf (which she did – in London) or even Peter Pan. Despite her expressive face, her thin, reedy voice is shrill and she screeches far too often. As for her line-readings, they’re devoid of any shred of self-awareness or humor. On the other hand, Michael Cerveris and Max von Essen are superb, as is poignant Rachel Potter as Juan Peron’s former mistress.
Director Michael Grandage has re-imagined and re-staged the 1979 version, enhanced by Rob Ashford’s tango-inspired choreography. Christopher Oram’s subdued scenic and costume design, warmly lit by Neil Austin, evoke the South American setting, especially the regal Casa Rosada.
Bottom Line: Catchy, memorable tunes like “Don’t Cry for Me, Argentina,” “Buenos Aires,” “A New Argentina” and “High Flying, Adored” are still marvelous and memorable, but don’t pay full price for tickets.