A classic is back at the Shakespeare Theatre Company at Sidney Harman Hall — the musical “Evita.” The Andrew Lloyd Webber-Tim Rice musical “Evita” at the Shakespeare Theatre Company? The troupe performs not only Shakespeare classics, but also modern classics, including musicals. However, “Evita” does have much in common with some of Shakespeare’s works — it is a historical work about a grand, yet flawed, character. It is the stuff that dreams, and Shakespeare, are made of.
The grand character is Eva Perón, Eva, affectionately known as “Evita,” an actress who grew up in poverty to become the wife of Argentine President Juan Perón; indeed, she grew far more popular than he. To some, especially the poor, she represented their hopes, dreams, and interests, especially through her charitable foundations. To others, she was the elegant face of a corrupt authoritarian regime. Eva’s rise to prominence, successes, and illness are narrated Brechtian-style by Che, who stands largely outside of the course of events, ever commenting negatively on Eva and the naiveté of her admirers.
Che is performed by Omar Lopez-Cepero in a unique approach. Instead of looking like a Marxist guerrilla in the style of Che Guevera (as is common in “Evita” productions), he is presented as an everyman with a blazer and loafers. An exception in which Che enters the action is done wonderfully — a fine duet between Shereen Pimentel and Mr. Lopez-Cepero in “Waltz for Eva and Che,” as Evita and Che “waltz” around their conflicts with each other.
Juan Perón is played by Caesar Samayoa in a believable way, capturing Perón’s ambition and occasional charm, especially in the powerful musical chairs sequence “The Art of the Possible,” in which Perón is the only military officer left seated after all chairs but one have been removed. Mr. Samayoa also performs well in “I’d Be Surprisingly Good for You” with Evita, as the two wax rhapsodic on how they can be mutually beneficial to each other. Evita enacts her own version of musical chairs as she moves from lover to lover on her climb up the social ladder.
Shereen Pimentel plays Evita. Evita is a complex character; she has the femininity, charm, and vulnerability to soften her husband’s authoritarian image and encourage people who might not normally support a military regime to be more tolerant of it. On the other hand, she also embodies elements of personal ambition and ruthlessness. The Pimentel approach to the character appears to favor Evita’s more ambitious side, yet her warm performance of the show-stopping “Don’t Cry for Me, Argentina” allows Evita’s heart for her people to shine.
The set design ranges from nightclub neon lights to funeral wreaths and is alternately exciting and poignant. The funeral flowers and votive candles rise to the stage ceiling at the beginning of the show, wonderfully foreshadowing events to come. This evocative scenic design was done by associate scenic designer Connor Munion. Evita’s designer dresses and the militaristic costumes are nothing short of spectacular, executed by associate costume designer Joseph Shrope.
Much of the success of the production comes from the orchestra: conductor Mona Seyed-Bolorforosh conveys Argentinian and Spanish styles very well throughout the score. “Buenos Aires” is done with Latin rhythmic beats, “Oh What a Circus” features a more traditional Spanish guitar introduction, and “On This Night of a Thousand Stars” is performed with Argentine tango orchestration, with a wonderful vocal by Gabriel Burrafato as Magaldi. An occasional riff from the song “Brazil” is heard here and there. “Requiem for Evita” shows versatility in the music as it swings between electric guitar and a chorus with symphonic orchestra. The beginning is like a requiem for a funeral, with echoes of lament.
Directed by Max Rogriguez, this “Evita” is both moving and mesmerizing. “Evita” plays at Washington’s Sidney Harman Hall through October 8.
