Evita

        In 2006 when the West End production of Evita opened to critical and audience acclaim all eyes turned to Broadway in hopes that this stellar production would become the first New York revival of the landmark musical. It took 6 years, but it finally happened. For the first time in 30 years Evita was back on Broadway.

        It took the star power of word wide pop and Latin sensation Ricky Martin to finally give the show the financial legs to walk. In the role of Che (originally played to Tony winning effect by Mandy Patinkin) he sings beautifully. His acting in certainly not bad, but nothing special either. He gesticulates in a very general way, and never gets below the surface of the character. The music is wonderful though. 

      In her Broadway debut, and recreating the role that made her a sensation in the UK is Argentinian actress Elena Roger. Let's get this out of way immediately. Ms. Roger cannot hit the high notes. She doesn't have them, and it's not pretty. She squeaks by on the cast album, but let's face it, the role has been sung better many times before. For the most part, it does not detract from the evening, though I suppose that depends on how much emphasis you put on singing and whether a brilliant acting performance can make you forgive the high notes, or lack of them. 

    Ms. Roger DOES give a wonderful physical performance of Eva Peron. Her acting choices are marvelous, and she takes us through Eva's different stages of life and ambition with great ease and likability. Eva is a character that is very easy not to like. Ms. Roger does make us root for her, and there was many a teary eye in the house during her final moments. 

        The supporting cast, led by the always top notch Michael Cerveris as Juan Peron, is a mixed bag. Michel Cerveris shines as always as Juan Peron. I doubt there could ever be a time that anyone could say a negative word about any of his performances. Peron has the tendency to come off as an afterthought, but Michael Cerveris make the most of the character.

        Max Von Essen as Magaldi was very off the night I saw him. He was off pitch for most of his songs. His acting was fine. Rachel Potter was lovely as the kicked out on her tush mistress, though for the life of me I'll never understand why a character onstage for 3 minutes has such a lovely song and is then never heard from again. One of the great mysteries of the theater I guess!

      The physical production was, for the most part, beautifully staged. Rob Ashford's choreography was the best of the bunch. Tinged with Argentine Tango and other cultural dances, it brought a vibrancy to the production that was otherwise lacking. The set and lighting design made the rest of the production look rather drab. We know it ends  tragically, but does it have to be framed that way from the beginning? The costumes were absolutely beautiful. Eva's Casa Rosada dress was stunning. 

      Overall I would say that the production was a success, however, it did not appear fresh or vibrant in any way. Hopefully it will not be another 30 years before Evita is back on Broadway, where she belongs! This Evita packing up her suitcase and leaving the halls of the Marquis Theater on January 26th, 2013.