Theater Do Cry for Evita

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Entertainment Featuring fresh takes and real-time analysis from HuffPost's signature lineup of contributors Michael Giltz Freelance writerGET UPDATES FROM MICHAEL GILTZ Follow Video , Andrew Lloyd Webber , Eva Peron , New York Around Town , Ricky Martin , Tim Rice , Broadway , Broadway Musicals , Elena Roger , Evita , Evita Broadway , Evita Broadway Revival , Musicals , Entertainment NewsReact Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyTheater: Do Cry for Evita EVITA * 1/2 out of **** MARQUIS THEATRE Broadway fans can go see Jesus Christ Superstar and Evita back to back and appreciate anew how the team of Andrew Lloyd Webber and Tim Rice were growing by leaps and bounds even as their collaboration was coming to an end. (They reunited over the years, including writing some songs for a London production of The Wizard Of Oz that opened last year.) Compared to Superstar , this musical about the life of Eva Peron is the height of sophistication, though Rice's lyrics remain blunt and banal. Lloyd Webber has remained cursed with poor lyrics his entire career (not counting T.S. Eliot, mind you). Taken on its own terms, however, my first brush with the show on stage (I saw the film version with Madonna) leaves little impression. Most of the numbers blend together and the strongest melody isreprised throughout beginning with "What A Circus," the famed peak "Don't Cry For Me, Argentina" andthe finale. This unfolding of a melody throughout a show can climax with a powerful "reveal" of thenumber. Here it simply feels like leaning on a good tune too often. Still, this is a handsome production with a full orchestra sounding marvelous. One can imagine a hungry, attention-grabbing actress like Patti Lupone making the most of the spotlight. Unfortunately, the acclaimed actress Elena Roger can barely hold the stage. Her voice is not remotely equipped for the part and her stage presence is minimal. You look at the spectacle of this Evita when you should be riveted on Eva Peron herself. An entire nation prostrates itself at her feet? You doubt they'd even notice her. The story is simple: Eva is a young girl in the provinces who hitches her star to a singer so she can get to the big city. The should-be amusing "Goodnight and Thank You" shows Eva working her way throughlovers and up the social ladder until she's a famous entertainer and can meet the rising political playerJuan Peron (Michael Cerveris). Together, they become a dynamo and rocket to power, though illness willquickly undermine the noblesse oblige of Evita, who likes to help the little people when it suits her. Shedies tragically young, almost a saint to the downtrodden but despised by the wealthy class she bothyearned to join and hated. It's all narrated by Che, of all people (Ricky Martin), who cynically reminds theMOST POPULAR ON HUFFPOST 1 of 2 Isaac Balloons Into A Hurricane, New Orleans Threatened Limbaugh's Wild Isaac Conspiracy MAP: Hurricane Isaac's Path Aims For Gulf Coast GOP Approves Abortion Ban Deaf Boy Asked To Make Controversial Change (VIDEO) Republican Attendees Thrown Out After Racist Attack On CNN Worker FOLLOW USCelebrity TV Political Hollywood Features Hollywood Buzz Videos Help Us Write 'The Words' Quick Read | Comments (26) | 08.20.2012August 29, 2012 Edition: U.S. FRONT PAGE POLITICS BUSINESS MEDIA CELEBRITY TV COMEDY FOOD STYLE ARTS BOOKS LIVE ALL SECTIONS Dean Baker Robert L. Borosage John Hillcoat Jeff MadrickHOT ON THE BLOG HuffPost Social Reading Like 102 Posted: 04/11/2012 2:42 pm SHARE THIS STORY Submit this storyGet Entertainment Alerts Sign UpSPONSOR GENERATED POST Recommend 666 Like 6k Recommend 244 Recommend 8k Like 3k Like 5kPolitical Hollywood Electronic Dance Music The Avengers One Direction More Log in Create Accountaudience of the poor peasants forgotten along the way. Evita should be a fiercely ambitious character as embodied in her singing. But Roger's voice is so thin and small (she played Edith Piaf in another hit show in London) that it simply disappears in the higherregister. You're more worried for her than intimidated or magnetized. Her best moments occur when she can stay in that lower register and speak-sing a song, such as the duet "I'd Be Surprisingly Good For You," with Cerveris. He, by the way, is a marvelous performer, but paired with Roger and singing what is essentially a dull and uninteresting role, even Cerveris can't do much. Also less demanding vocally(though during this song she's dancing quite a bit) is "Buenos Aires" with Martin. He's an amiablepresence on stage albeit with little of the ability to give Che the edginess and cynicism the roledesperately needs. When it comes to that iconic number "Don't Cry For Me Argentina," Roger simply makes you feel nervous. It works better at the end when her frail voice can be seen as in character, since Evita is dying when she reprises the tune from her deathbed (where, frankly, it makes more emotional sense than itdoes on the balcony anyway). She's especially exposed on "You Must Love Me," the ballad written for the film which she sings alone on a stage with Cerveris. Without sets and dancing and other cast members to distract, you have nothing to focus on but her unconvincing vocals. Frankly, it's difficult to understand why she was cast in London, much less here, where the standards for musicals are and should be the highest in the world. Roger unquestionably does not posses the pipes tosing this part. Since this isn't a dance show where dancing might be the most important talent and shecertainly doesn't act anyone off the stage, why would her ability to -- at best -- get through the bignumbers rather than nail them be acceptable? The entire show is built around what should be the fieryperformance at its heart, making this Evita very cool indeed. That said, it looks great. Director Michael Grandage and choreographer Rob Ashford keep everythingmoving smoothly and the storyline is clear from start to finish. The sets and costumes by ChristopherOram are very good, with the central set serving among others as the framework for a cafe, a city squareand the presidential palace for the balcony scene. They lean a bit too much on some stills and video footage from real life, which soon lose their immediacy. The opening with mourners and dancers hidden in darkness and fog at the news of Evita's death is eerie. But that fog never seems to dissipate; it returnsagain and again throughout the show, demonstrating a lack of imagination that the lighting by NealOstin can't overcome. What was at first effective ultimately becomes too familiar and -- like thedocumentary footage of Evita -- loses its power. Cerveris as mentioned makes little impression, which should tell you how emotionally flat this show is since Cerveris almost always makes an impression. Martin's return to the stage is not bad and it would beinteresting to see him in a lighter, romantic part where he might work well. Max Von Essen has fun in thesmall role of Evita's first love, Magaldi. And Rachel Potter is a blessed oasis performing one of the show'sstrongest tunes "Another Suitcase In Another Hall." You're tempted to assume that the main reason Evitatosses out this mistress of Juan Peron is simply because Potter has a much better singing voice. Nonetheless, with Joseph & The Amazing Technicolor Dreamcoat and Superstar back on Broadway several times over the years and now, finally, Evita , one has to ask: is it time... dare I wonder if they're planning to revive... Cats ? The Theater Season 2011-2012 (on a four-star scale) The Agony And The Ecstasy Of Steve Jobs ** 1/2 The Most Awkward Wedding Photobombs Sylvester Stallone's Half- Sister Dies At 48 PHOTO: The Queen Rolls In A Range Rover Wearing A Hoodie DON'T MISS HUFFPOST BLOGGERS 1 of 5 Dean Baker Poverty: The New Growth Industry in America Robert L. 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Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz Read more from Huffington Post bloggers: Fern Siegel: Stage Door: Evita The Broadway revival of Evita at the Marquis Theater may have star power, but it lacks sizzle. Henry Freeman: Ricky Martin in Evita on Broadway: Loved It -- Can Puerto Rico Rise Like Eva Peron? When one leaves the Marquis Theatre in New York after watching Elena Roger, Michael Cerveris and Ricky Martin perform their art, it is hard (I'd even say impossible) to find any unhappy faces. Chuck Gomez: Evita Hits Broadway: Can a Revival Possibly Compete With the Original? I saw Evita in 1979 and remember being so stunned by the production that I sat motionless for several minutes when it ended -- not quite believing what I had witnessed. More in Entertainment... 09:58 AM on 04/12/2012 I don't understand why they cast for the Broadway run. She got the same exact reviews in the London stint. There are so many talented ladies that can sing the hell out of this part! I know causeI've seen some of them and they are equity members. It just seems like such a mistake. 08:50 AM on 04/12/2012 We've gotta come to terms with the fact that Lloyd Weber/Rice's work simply isn't that good. Evita,like Superstar, has its moments -- but not nearly enough of them to sustain a full evening'sentertainment or justify obscenely high ticket prices. Recency | Popularity HUFFPOST SUPER USER fredimessina Permalink | Share it 3fingerbrownComments 11 Pending Comments 0 View FAQ Comments are closed for this entry View All 285 Fans 608 FansThis user has chosen to opt out of the Badges program This user has chosen to opt out of the Badges program The original production became a huge hit thanks to a stunning staging by Hal Prince (perhaps the best work of his career) and the lightning-in-a-bottle casting of Lupone, Mandy Patinkin, and BobGunton in the leads. But when you replace all that with a merely good staging and just serviceableperformances, it exposes the score for the shallow, curiously undramatic claptrap it is. I usually don't begrudge a theater writer any success, even if their work isn't my cup of tea. I know how hard it is to succeed in the theater, and I respect anyone who can break through. But in Tim Rice's case, I make an exception. Oy, those school-musical lyrics! Oy, those flatfooted rhymes that go thud in the night! "Adore me/Dior me!" -- give me a break. 08:31 AM on 04/12/2012 This is maybe the 10th review I've read of the restaged Evita that mentions Roger is simply unableto carry the role of Evita. I dunno, I haven't seen the show. But I have to ask: don't they haveauditions? Wouldn't it be obvious to someone with trained ears at some point early in the process?Wouldn't the ability to, um, carry the part be part of the qualifications? What do I know. I'm no Broadway impresario. ;-) 01:09 PM on 04/18/2012 As you suggest, this isn't the case of a famous star being cast to draw in crowds despite their technical proficiency. It's an unknown. I honestly have no idea what convinced them tocast her, but you can read many reviews and they're fairly consistent in saying she has a weak voice. You'd think that would be job one, but apparently not. 08:09 AM on 04/12/2012 There 's just something unseemly about a musical about Evita Peron. What next, 'Eva Braun--The Musical'? 08:33 AM on 04/12/2012 You're no patron of the arts, that's for sure. I saw Evita the first go-round. Excellent. Goodart provides context and understanding. Maybe you should stick to TVLand reruns, steamer.;-) 10:10 AM on 04/12/2012 Oh please. The music is wonderful and it's only the subject that presents a problemof sorts. I would have rather seen Evita done as a straight play where getting at thereal Evita would have been much more fascinating. The musical arena just isn't the right setting for a tyrant, unless it's satire or farce.Permalink | Share it Joseph Schmoe Permalink | Share it HUFFPOST BLOGGER Michael Giltz freelance writer Permalink | Share it HUFFPOST SUPER USER Steamboater Forget hope. Agitate. Permalink | Share it Joseph Schmoe Permalink | Share it HUFFPOST SUPER USER Steamboater Forget hope. Agitate. Permalink | Share it HUFFPOST SUPER USER JimmyD338 Fans 127 Fans 3112 Fans 338 Fans 3112 Fans 66 FansThis user has chosen to opt out of the Badges program09:16 PM on 04/11/2012 She was incredible the night I saw the show. Looking at your past ratings, you don't like much, do you? 03:25 AM on 04/12/2012 Hi Jimmy, Glad you enjoyed the show. Broadway is an expensive proposition, so it can be a real bummer to fork out money and not enjoy the show. Even a bad movie can feel like arip-off. I'm hardly alone in criticizing the performance of Elena Roger. Almost every review(even the ones that liked her acting and dancing) conceded her voice is not strong; most were much harsher. But even if I were alone in my opinion, naturally I'd still back up what I said. I'm not sure what you mean about my past ratings. Of course I like some shows and dislike most. Most plays and musicals, just like most movies and books and albums and TV shows, are not great. Far from it. That's why we love the ones that do succeed. Here's alink to my favorite shows of 2011, so no one thinks I poo-poo everything.http://www.huffingtonpost.com/michael-giltz/theater-the-best-shows-of_b_1176809.html 03:30 AM on 04/12/2012 It's only April, but here's a list of shows I raved about in 2012: UK comic Daniel Kitson'swonderful It's Always Right Now Until It's Later; a revival of a show about acclaimeddirector Robert Wilson called Bob; the revival of Porgy & Bess with Audra McDonald; the opera Ernani at the Met with Angela Meade; the excellent Off Broadway play Tribes; and the excellent Broadway transfer of my favorite musical of 2011: Once. That's six showsworth rushing to see, which is probably more than most people catch in a year. So even ifwe disagree on Evita, I hope that won't dissuade you from seeing some of these others. 08:34 AM on 04/12/2012 Methinks thou dost strive to CYA too much. 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Theater Do Cry for Evita

📄 Theater Do Cry for Evita

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