Interludes

THE HANGOVER REPORT – City Center’s gala production of EVITA is musically ravishing, led by Solea Pfeiffer’s star-making performance

• By drediman
• November 23, 2019
• No Comments

Solea Pfeiffer in New York City Center’s gala production of “Evita” by Andrew Lloyd Webber and Tim Rice.

This afternoon, I caught one of the final performances of New York City Center’s gala production of Evita, Andrew Lloyd Webber and Tim Rice’s Tony-winning 1979 musical about Eva Peron, Argentina’s glamorous and iconic former first lady. These annual gala presentations have in recent years become a high point in the theatrical season, and this Evita has big shoes to fill. Indeed, recent stagings have included sold out revivals of Little Shop of Horrors (starring Jake Gyllenhaal and Ellen Greene), Brigadoon (starring Kelli O’Hara and Patrick Wilson), and Sunday in the Park with George (starring Mr. Gyllenhaal and Annaleigh Ashford).

Evita has always been a bizarre beast, mostly because of its offbeat subject matter (a musical about Eva Peron?). Nevertheless, it features one of Lloyd Webber’s most sensational scores, a driving, heady fusion of rock, Broadway, and Latin influences. And although Tim Rice’s pointed lyrics are ultimately uneven, his work for Evita is filled with strikingly quotable passages. Musically, I don’t think I’ve heard the score as ravishingly performed as it is here. Solea Pfeiffer’s star-making performance in the title role is splendid, and she attacks the nearly impossible demands of the score with a ferocity and confidence that’s thrilling to behold. Jason Gotay’s smirking Che also succeeds, providing the role with a vocal sweetness that gives the show’s guide a smoother, less forceful persona. It’s also a treat to hear the classic show in its full orchestral glory, which is one of the trademarks of seeing shows at City Center.

As for Sammi Cannold’s staging, it mostly hits the mark. This Evita comes across more as a fever dream rather than a fully articulated history lesson (this ain’t no Hamilton). The last major revival by Michael Grandage sought to give the show a literal look, which actually detracted from the piece by exposing the deficiencies of the skeletal book. Sammi Cannold’s staging thankfully brings the musical back to its roots as a stark and restless pageant (the original staging was by the late, great, and legendary Hal Prince). Her staging comes with a few striking directorial choices (e.g., another actress is used for Eva’s younger scenes, “Don’t Cry for Me Argentina” is staged in a field of flowers, etc.), although I thought Emily Maltby and Valeria Solomonoff’s choreography could have used more punch.

RECOMMENDED

EVITA
Off-Broadway, Musical
New York City Center
2 hours, 10 minutes (with one intermission)
Through November 24