Hit or miss lead makes production good, not great
Evita is an intriguing musical. For all the time the audience spends with the title character, who is onstage for nearly all of the show's three-hour running time, we're never fully inside her head. Narrator and revolutionary Che frequently guesses at Eva's motives but doesn't yield any real answers. As well, the Andrew Lloyd Webber rock opera is vocally taxing, for everyone from the ensemble members to Eva herself - the latter must have incredible range and staying power. The Marriott Theatre's is hit or miss. Much of the talent is extraordinary, but Hannah Corneau's Eva is decidedly devoid of charisma.
Evita debuted on Broadway in 1979 with Patti LuPone in the title role. (LuPone also had an alternate, as the role is so taxing.) In terms of how it's aged, falls somewhere between Cats (terrible) and Jesus Christ Superstar (still wonderful). Andrew Lloyd Webber's score, with lyrics by , is over-the-top and screechy at some points, but quietly rewarding at others. In fact, the show's most poignant song could conceivably be cut entirely. "Another Suitcase in Another Hall" is sung by Perón's final mistress (Eliza Palasz) before Evita assumes the role of his wife. The Mistress has no name, is introduced briefly before the song, and is never seen again. A sung monologue, "Another Suitcase" is a lovely, heartfelt moment in an otherwise very cynical musical, and Palasz's interpretation is wistful and brilliant.
Director and choreographer Alex Sanchez has come under fire for casting mainly white actors as Argentinians, but it can't be denied that this boasts real talent. The ensemble harmonizes beautifully, molding to music director Ryan T. Nelson's capable hands, and their dancing skills are equally impressive. Though Lesch stumbles a bit on Che's lower notes, the New York actor makes up for his shortcomings with a bravado that's strangely charming. David Schlumpf soars as Magaldi, a tango singer and Eva's first lover, and Adams displays remarkable vocals and stellar acting as Perón, a powerful leader who's nonetheless a softy for his wife and has genuine compassion for the poor. If only Corneau were as impressive. Her voice is excellent, if a little thin, but the actress displays none of the sexual magnetism and charisma that enabled the real Eva to rise to the top. She displays no real character growth or confidence, which is a real issue considering that the character is a powerhouse and a driving force.
With a stronger lead, this would have been much more memorable. As it is, the production is hit or miss. The ensemble and other principals do fantastic work, but one can't argue that the show is called Evita, not Che or Magaldi or even The Mistress. (The latter could have been an interesting spin-off, though.) Corneau tries, but just isn't up to the task of playing a dynamo. She's merely good, when any actress playing Evita must be great.
continues through June 5th at Marriott Theatre, 10 Marriott Drive, Lincolnshire (map), with performances Wednesdays 1pm & 8pm, Thursdays and Fridays 8pm, Saturdays 4:30pm & 8pm, Sundays 1pm & 5pm Tickets are $50-$55, and are available by phone (847-634-0200) or online through their website (check for half-price tickets at Goldstar.com ). More information at MarriottTheatre.com. (Running time: 2 hours 50 minutes, includes an intermission)
Photos by Liz Lauren
Hannah Corneau (Eva), Samantha Pauly (Eva alternate), Austin Lesch (Che), Larry Adams (Juan Perón), David Schlumpf (Magaldi), Eliza Palasz (Mistress), William Carlos Angulo, Lauren Blane, Brian Bohr, Brianna Borger , Jameson Cooper, , Alana Grossman, Anne Gunn, George Keating, Lauren Kias, Josh Kohane, Kristina Larson-Hauk, Russell Mernagh, Christine Mild , Eliza Palasz, Samantha Pauly, James Rank, Todd Rhoades , , Laura Savage , Jason Slattery (ensemble), Sayiga Eugene Peabody (ensemble, dance captain)
Understudies: Samantha Pauly and Christine Mild (Eva), David Schlumpf (Che), James Rank (Perón), Jason Slattery (Magaldi), Alana Grossman (Mistress)
Patti Garwood (conductor, keyboard), Kevin Reeks (assistant conductor, keyboard 2), Dominic Trumfio, Emily Beisel (reeds), Chuck Bontrager (violin), Zach Thomas (trumpet), Steve Duncan (trombone), Dave Saenger (guitar), Trevor Jones (bass), Ethan Deppe (drums)
behind the scenes
Alex Sanchez (director, choreographer), Ryan T. Nelson (music director), Thomas M. Ryan (set design), (lighting design), Nancy Missimi (costume design), Robert E. Gilmartin (sound design), Sally Weiss (properties design), Michael Hendricks (production stage manager), Brian Bohr (asst. stage manager), Jill Walmsley Zager (dialect coach), Geoff Josselson (NY casting director), David Siegel (orchestra reductions), Patti Garwood (musical supervisor, conductor), Jen Donohoo (asst. to the director), Deya Friedman (production manager), James Guess (sound engineer), Samantha Holmes (wardrobe supervisor), Peter Blair (associate producer), Peter imMarston Sullivan (associate artistic director), Aaron Thielen (lead artistic director), Andy Hite (artistic director), Terry James (executive producer), Liz Lauren (photos)
Tags: 16-0441, Aaron Thielen, Alana Grossman, Alex Sanchez, Andrew Lloyd Webber, Andy Hite, Anne Gunn, Austin Lesch, Bobby Daye, Brian Bohr, Brianna Borger, Chicago musical theater, Chicago Theater, Christine Mild, Chuck Bontrager, Dave Saenger, David Schlumpf, David Siegel, Deya Friedman, Dominic Trumfio, Eliza Palasz, Eliza Palasz (Mistress), Emily Beisel, Emily Rohm, Ethan Deppe, Geoff Josselson, George Keating, Hannah Corneau, James Guess, James Rank, Jameson Cooper, Jason Slattery, Jen Donohoo, Jesse Klug, Jill Walmsley Zager, Josh Kohane, Kevin Reeks, Kristina Larson-Hauk, Larry Adams, Laura Savage, Lauren Blane, Lauren Kias, Lauren Whalen, Liz Lauren, Michael Hendricks, Nancy Missimi, Patti Garwood, Peter Blair, Peter Marston Sullivan, post, Robert E. Gilmartin, Russell Mernagh, Ryan T. Nelson, Sally Weiss, Samantha Holmes, Samantha Pauly, Sayiga Eugene Peabody, Steve Duncan, Terry James, Thomas M. Ryan, Tim Rice, Todd Rhoades, Trevor Jones, William Carlos Angulo, Zach Thomas
Category: 2016 Reviews, Andrew Lloyd Webber, Lauren Whalen, Marriott Theatre, Musical
