The numerous compelling songs carry us through emotionally, as a simple listing of their titles gives us a chronological summary — such as “I’d Be Surprisingly Good for You” when the couple meet, followed by “Another Suitcase In Another Hall,” as his current mistress is put onto the street. By the way, although the latter gentle song by Krystina Alabado is a narrative interruption, her beautiful voice and presentation makes it one of the high points of the show.
Act Two opens with Perón in power, and soon we hear Eva singing the most well-known number here, “Don’t Cry For Me Argentina,” which is oddly placed since now she’s the envy of the country. Eva is doing most of the singing here, soloing or accompanied. Between Bowman’s lovely voice and the power or poignancy of “High Flying, Adored,” and “You Must Love Me,” we get a good sense of what all the fuss was about.
Fact-packed history can be dry and bloodless, but when it’s animated through such a dynamic and vivacious person as Maria Eva Duarte de Perón, it’s anything but. Transfixed by Evita, we come alive a little more ourselves.