Vocal Limitations Dim Star Power of Civic Theatre’s EVITA
The Civic Theatre of Allentown has mounted a three-performance concert presentation of Andrew Lloyd Webber and Tim Rice’s EVITA, the celebrated musical chronicling the meteoric rise, political controversies, and untimely death of Eva Perón, the influential second wife of Argentine president Juan Perón. The concert format is particularly apt, recalling the work’s origins as a 1976 rock opera concept album before its eventual transformation into a full-scale stage musical.
Concert presentations of major musicals have become increasingly popular in recent years. They allow theater companies to capitalize on the appeal of a well-known title while avoiding much of the considerable expense associated with elaborate scenery, costumes, and other production elements the material would typically require. In exchange, the emphasis shifts almost entirely to the score, the storytelling, and the performances themselves.
Directed by William Sanders, with choreography by Mariel Letourneau and musical direction by Steve Reisteter, the production boasts a full-sized orchestra that gives Andrew Lloyd Webber’s and Tim Rice’s score the musical depth it often loses when a reduced orchestration is utilized.
Conducted by Reisteter, the orchestra sounded strongest when a driving rhythm section was supported by the counterpoint of strings, winds, and brass. The percussion was consistently strong—an important element in this Latin-infused score. That said, the orchestra often overpowered the singers.
Any production of EVITA ultimately rests on the shoulders of the actors portraying Eva Perón and Che Guevara, the revolutionary who serves as the show’s sardonic narrator. Both roles demand not only compelling dramatic performances but also the vocal stamina and range required to meet the formidable challenges of Lloyd Webber’s score. Alejandro Rodriguez as Che and Jada Fontanez as Eva both seemed to strain under these demands. Rodriguez’s diction was at times incomprehensible, a problem compounded by aspects of the staging, while Fontanez, though strong in her lower-register belt range, frequently had to shift abruptly into a weaker, less distinct soprano register. As a result, much of the text was lost in both performances, making the story difficult to follow.
As Juan Perón, Marquett Ferrell fared better in both range and diction; however, his youthful presence undercut the authority and command the role requires.
Standout performances included Jarrod Yuskauskas’ Magaldi, who captured the charm and vanity of the popular tango singer who becomes Eva’s first stepping stone on her path to power. His strong vocal performance of “On This Night of a Thousand Stars” jump-started the production. Mia Garcia, as Perón’s Mistress, delivered one of the evening’s finest moments with a still, captivating, and beautifully sung “Another Suitcase in Another Hall.”
Freed from the financial demands of elaborate scenery and extensive costuming—with most of the chorus and dancers dressed in black—director Sanders staged the work fluidly, employing effective moments of dissolve and reveal. Projected narration also helped clarify location and timeline.
The old director’s adage that “casting the production is 90% of the work” rings particularly true here; in this case, one wishes Sanders had cast performers with a stronger vocal arsenal to take on the leading roles.
EVITA IN CONCERT
Civic Theatre of Allentown
Review submitted by:
Franklin Joseph
Author’s Bio:
Franklin Joseph is an avid theatre goer who takes delight in the active theatre arts community of the southeast Pennsylvania region.
