By Venus Zarris

Valid points can easily be argued about Andrew Lloyd Webber’s formulaic commercial popularity but in my book, Webber and Rice contributed two classics to the musical theater cannon. Jesus Christ Superstar and EVITA, when done well, are quite simply musical theater gold. Compelling characters, dramatic conflict and iconically catchy tunes makes for entertaining musicals and these shows have them in spades.

While J.C. Superstar is a tribal rock opera that can be delivered with a looser ‘hippie’ sensibility, EVITA possesses military, aristocratic, and tango structures with proletariat gatherings and fascist corruption thrown in for good measure. I was talking with a friend who had musically directed EVITA and she said that it has perhaps the densest lyrics of any musical written. More words and information are packed in each song than is almost digestible in one hearing. There is also the over two-octave range needed to successfully sing the part of Eva. And so, just getting it all out correctly is a challenge.

Now add to that the depth of dramatic conflict, especially between Eva Peron and Che Guevara who continually vie for control over the audiences’ loyalties, and you have an ambitious challenge for even seasoned veterans of the stage.

Theo Ubique Theatre Company adds staging this show in a small cabaret venue to the list of difficulties. Performing EVITA at NO EXIT is like staging the invasion of Pearl Harbor at a Starbucks. It makes for a cramped rendering. The talented cast runs through two simultaneous obstacle courses, that of the congested score and the small space. The ‘in your lap’ staging leaves little room for error and even less room of for insincerity. But despite the Herculean challenge, they manage a strong production that entertains and at times even delights.

Maggie Portman delivers a solid Eva Peron. She lacks the total seduction of this iconic ‘Madonna/Whore’ who slept her way from rags to riches, winning the hearts of the Argentinean masses in the process, but engages nonetheless wish some exceptional moments. Chris Damiano has a great voice and adds beautiful guitar work to Another Suitcase In Another Hall and thrilling guitar work in Rainbow Tour but fails to command the narrative role of Che Guevara. Jeremy Trager is menacing and marvelous as Juan Peron. Jenny Lamb is heartbreakingly lovely as Peron’s mistress. Michael Wheelwright is charmingly smarmy as Magaldi and the ensemble is fantastic.

Director Fred Anzevino’s staging works surprisingly well within the spatial limitations. Ryan Brewster’s musical direction adapts the broad score to the small space well but lacks the tight control of the talented singers and pit band that is needed to completely punctuate the complex music and lyrics.

As Eva sings, “Sometimes it’s very difficult to keep momentum when it’s you that you are following.” And there are times when this EVITA meanders and falls behind itself. Still, the enthusiasm and dedication of the extremely likable and gifted cast manage to play catch up when needed and deliver a very entertaining evening.

Patti LuPone and Mandy Patinkin defined the play in the original Broadway production. Madonna and Antonio Banderas ruined it in the film. Theo Ubique redeems it with this charming rendition.

I can’t say that this EVITA knocks it out of the park. But it is a well-hit double that manages to steal third base.

3 STARS

(”EVITA” EXTENDED through May 31 at No Exit Café, 6970 N. Glenwood Ave. 773-347-1109.)

Theo Ubique Theatre Co.

* Call ahead for info about the FREE Glenwood Avenue Arts District Parking Lot & Shuttle *

TRILOGY, ST. JEROMES and MISION CRISTIANA ELIM NO LONGER OFFER PUBLIC PARKING - THEY WILL TOW YOUR CAR!

Leave a Reply

You must be logged in to post a comment.