A healthy dose of charisma and ambition coupled with excellent networking skills and good timing can almost always guarantee success in all aspects of life, though rising to fame and fortune from humble beginnings does have its dangers as well. Such is the case in Evita, based on the life of Eva Peron, the famous or infamous (depending on your view of Argentinian history) First Lady of Argentina in the mid 20th Century, which is currently playing (at least until January 26, 2013) at the Marquis Theatre.
[Brief Disclaimer: I have been a great fan of and have seen most of Andrew Lloyd Webber’s musicals, and Evita was the fourth and final of what I have dubbed Andrew Lloyd Webber’s musical “Big Four” that I had yet see live on stage, the other three being Cats, Phantom of the Opera and Sunset Blvd. and designated as such due to the fact that each of those Lloyd Webber musicals won seven Tony Awards in the year they were nominated. This was the first Broadway revival of Evita since the original production played over thirty years ago, and it’s only now I’ve had a chance to see this production. Also, as I had not seen the original production, (though I had seen the 1996 film adaptation) my frame of reference for the musical is via the various English language cast recordings which interestingly enough, are different from one another (of course, aside from the different casts) – certain songs were changed, and others added in, most notably “You Must Love Me”, which was written for the film adaptation is now included in the musical’s score.]
As often the case, I had obtained my ticket via the TKTS board located in the heart of Times Square, which was fortunate, as it was a full house, aside from a few single empty seats. The show as a whole was great, from the sparse yet effective set design, the elaborate choreography and costumes, capturing the essence of post World War II Buenos Aires. Of course, the “star quality” draw for this revival was Ricky Martin, whose entrance was greeted with much applause – his portrayal of Che, the everyman narrator, was great, though for whatever reason, he elongated every vowel in every word he sang in the opening number “Oh What a Circus”, which seemed to slow down the tempo of the song. This did not occur as much in his subsequent songs, and his charisma shone throughout. As the titular character, Elena Roger, who has the distinction of being the first Argentinean actress to portray the role, she was fine acting-wise, but her singing was quite shrill and vibrato-laden; ironically perhaps, her voice became tolerable and more lyrical as the evening progressed, so that the lament she sings at the end was quietly poignant. But then again, having grown up listening to Julie Covington, Elaine Paige and Patti LuPone on the Original 1976 concept album, the London and Broadway cast recordings, respectively, (and later Madonna in the film adaptation movie soundtrack) the bar was set pretty high on how the songs were to be sung, and my expectations were equally as high. While not having the same amount of songs, Michael Cerveris was fantastic as Juan Peron, displaying a wide range of emotions throughout. Other standout performances were from Max von Essen as Augustin Magaldi, who belted out “On This Night of a Thousand Stars” with much gusto, and Rachel Potter, as the Mistress, who sang “Another Suitcase in Another Hall” with a balance of pragmatism and trepidation.
The stage door experience was a bit more eventful than usual or expected – I should preface this with the fact that the Marquis Theatre is located on the second floor within the Marriott Hotel, and the stage door is roughly a street block distance and on street level from the hotel doors, so there’s quite a distance to cover if one is to attempt to get a good spot to wait at the stage door. All this being said, I’m usually quite agile in getting to the Marquis stage door, and can usually secure a spot right in front of the metal barricades; however, knowing that there would be a larger than usual throng waiting (mostly for Ricky Martin, and some for Elena Roger), I made a mad dash to the stage door and perhaps my forward momentum combined with the occasional wind gusts propelled me forward too quickly and I stumbled roughly midway to the stage door. I was fine, nothing broken, (though I felt a bit bruised as I got up) and there was a tiny gash on my forehead, for which the helpful stage door security personnel directed me back inside the Marriott Hotel to get cleaned and bandaged up. As I (slowly) made my way back to the stage door area, a huge crowd already surrounded the stage door, as well as across the street (as there were cops on horseback on patrol ensuring the street was clear for the oncoming traffic) with the metal barricades a good six feet or so away from the actual door. The stage door security personnel who helped me had allowed me to wait on the other side of the barricade, closer to the stage door. Probably a good twenty minutes or so passed before the cast started to emerge – of course there was a huge ovation when Ricky Martin came out, and he was good at signing as many playbills as possible before leaving via SUV, after which the crowd thinned considerably. Elena Roger, Michael Cerveris as well as ensemble member George Lee Andrews stuck around to chat and pose for photos.
Despite my aforementioned critiques, the overall production is great, and it’s a shame it’s closing – the official reason is that the producers were unable to find suitable replacements (as I believe Ricky Martin was to depart the show next week). I have a sneaking feeling that one of the reasons is that the producers could not find a replacement of the same celebrity stature as Ricky Martin; there are plenty of capable (albeit not well-known outside the theatre community) actors who could take over the role – Max von Essen, who does understudy for and has performed the role multiple times, could be a viable successor, but alas the business side of show business seems to take precedence these days. I’m glad to have seen this production, and would recommend it.