High Flying Adored

Evita – Drury Lane Theatre

Andrew Lloyd Webber’s pop/rock opera is a spectacular work of art, no matter where it’s produced. The musical has been entertaining and emotionally affecting audiences around the world since its 1978 West End opening. That first English production followed the success of a concept record album two years earlier. The show became an unprecedented hit and was awarded London’s Lawrence Olivier Award for Best Musical. Then “Evita” opened on Broadway the next year, where it became the very first British musical to win the Tony Award for Best Musical, along with six others, as well as a whole raft of additional accolades and honors. I’ve been fortunate to have seen many of these earlier productions, including a stellar 2013 National Tour that was fantastic. 

But Drury Lane Theatre’s latest production of “Evita” may be one of the best that this reviewer has ever experienced. Directed and choreographed by the sensational Tony and Drama Desk Award nominated Marcia Milgrom Dodge, this production is a dazzling creative reinvention of the original show. At Drury Lane Ms Dodge has helmed such previous productions as “Mary Poppins” and “Smokey Joe’s Cafe,” so she’s no stranger to Chicagoland. But the creativity she’s brought to this production is magnificent. As one patron was heard saying as she left the theatre opening night: “This wasn’t just a performance; it was an experience!”

“Any opera that begins with a funeral can’t be all bad.” That was the initial response given by Harold Prince, director of the original London and Broadway productions, when he was first asked to help create this piece for the stage. Andrew Lloyd Webber’s beloved biographic musical, depicting the rags to riches overnight rise to fame of Eva Peron, the controversial First Lady of Argentina, is now playing in Oakbrook Terrace, in a breathtaking production. It is a definite must-see for Chicagoland audiences, and not just because of the captivating story told through Webber’s gorgeous music and Tim Rice’s biting lyrics.
“Evita” is the story of one woman’s unstoppable quest for popularity, power and prominence along with a taste for life’s finer things. Eva (according to various sources) learned as a young girl that she could use her beauty and feminine wiles to help her climb the social ladder to fame and fortune. After taking up with Magaldi, a married, semi-successful singer, Eva soon leaves her small hometown, following him on to Buenos Aires.

There she begins sleeping her way to the top when, after achieving fame as a model and a radio and film actress, Eva meets and falls in love with Colonel Juan Peron, who is on the brink of his own political success. They recognize their similarities, quickly marry (much to the chagrin of Peron’s military advisors) and Peron soon becomes elected President. National critics continue advising Peron against allowing Eva to interfere in national politics. But her popularity with Argentina’s common workers continues to grow, almost elevating her to sainthood. However, just as Eva’s unquenchable thirst for power continues driveing her, she becomes seriously ill and dies, leaving Peron and her people devastated.

This pop opera, filled with some of Webber’s finest and best-loved music, begins with Eva Peron’s funeral (“Requiem”) in 1952 and then circles back to 1934 when a 15-year-old Eva Duarte first discovers the hold she has over men (“Buenos Aires”). Her journey is narrated by and commented upon by a cynical fictional commoner named Che. Mandy Patinkin created the role on Broadway and, if you’re familiar with this score, it’s almost impossible to rid your memory of his distinctive physical and vocal portrayal. 
Handsome Richard Bermundez, an incredible actor who possesses the most gorgeous, well-trained tenor, outside the Lyric Opera, is making his auspicious in Drury Lane debut as Che. This actor’s vocal range is astonishing: From his deep, well-supported baritone notes to a sweetly-produced falsetto that’s crystal clear, Mr. Bermundez has the looks, ease, moves and vocal prowess that make this role all his own. Seldom leaving the stage, Che is the voice of this play, its narrator, a critically observant one-man Greek chorus and often a primary participant in the action. This remarkable actor/singer also sports an impressive resume of theatrical experience, making him a true star, in every sense of the word. Richard Bermundez is one of the prime reasons to see Drury Lane’s production, but certainly not the only incentive.

Sean MacLaughlin appeared a bit young to be playing Juan Peron, back when I first saw him in the role in the 2013 National Tour. However, nine years later the actor is absolutely ideal for this role. In fact, I’ve never seen Peron portrayed any better. He’s a character, who’s so often overshadowed by Eva and Che, usually played as a stiff, arrogant political figurehead. But Sean MacLaughlin brings a humanity to Peron. He’s a suavely handsome, astoundingly charismatic actor, with a beautiful rich baritone voice and excellent dancing skills. The actor is grounded as a no-nonsense military and political leader, but also as a charming Latin lover, who’d obviously attract the eye of Eva Duarte. He projects an intensity in everything he says and does, shooting subtle warning glances at his adversaries and loving looks at all his female admirers. But ultimately worry and sad weariness creep into his entire body by the end of the play, an acting choice that works particularly well.

Returning to Drury Lane, after winning the Jeff Award for playing Anita in “West Side Story,” is lovely Michelle Aravena, portraying Eva Peron. This bewitchingly beautiful actress, who looks fantastic in Ryan Parks’ elegant period costumes, is a true triple threat. She can really belt out Webber’s much-demanding score with precision and passion, but she’s also an accomplished dancer. This allows Ms Aravena to stand out during production numbers, rather than simply fade away into the ensemble. The emotional journey this gifted actress must take every performance as Eva Peron would be a huge challenge to most other actresses, but Michelle is up to the task. She holds the show in the palm of her hand and makes us truly care about the woman who captured the hearts of Argentina.

The next best reason for seeing this production is the terrific singing/dancing ensemble who double in multiple roles, from the British elite to Argentine commoners and military. Keila Hamed-Ramos gives a jewel of a performance as Peron’s young, displaced Mistress, with her heartfelt, “Another Suitcase in Another Hall.” The heartbreaking performance of  “Santa Evita” performed by the children’s chorus brought tears to my eyes. Marcia Milgrom Dodge’s brilliant, Latin-inspired choreography, which nicely provides variations on the Argentine tango, among other dance styles, is superb. The manner in which this ensemble (kept sharp by Dance Captain, Shanna Vanderwerker) executes her work is outstanding and often breathtaking. Inventively reinterpreting “The Art of the Possible,” throwing caution to the wind with wild numbers like “Buenos Aires” and the fashion parade for Eva that’s the “Rainbow Tour,” are just some of the highlights of this show. But the sexual/political dynamics expressed in dance between the two leads during “Waltz for Eva and Che” is a true, choreographic triumph.

This superb production is an unbelievably strong way to kick off the 2022 theatre season. In addition to Ryan Parks’ glorious costumes, Emily Young and Brittany Crinson’s perfectly coifed wigs and hair design, Michael Schweikardt’s beautiful, intricately detailed scenic design, with a stage apron that wraps around the orchestra pit and allows the action to flow down to the first row, is pure class. Christopher Sargent’s eight-member orchestral ensemble, including Cory Goodrich as an observant muse and onstage accordion player, sounds rich and full. They support the dynamic musical direction and guidance provided by Valerie Maze. While this is a musical drama, there’s still some humor to be found in this production.

For those audience members experiencing this show for the first time, it will be the production against which all future versions will be compared. And many of us who know and love this musical, this inventively creative interpretation is a sound version of Andrew Lloyd Webber’s beloved early collaboration with lyricist Tim Rice. Featuring haunting songs like “Don’t Cry for me Argentina,” “High Flying Adored,” “On This Night of a Thousand Stars,” and many others, this production is in every way a brilliantly remarkable “Rainbow Tour.”        

Highly Recommended

Reviewed by Colin Douglas

Presented January28-March 20 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, Chicago.

Tickets are available by calling the box office 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.