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Power playing

By BILL RODRIGUEZ  |  July 23, 2008

Despite such lost opportunities, Evita tends to maintain compelling momentum because it’s written like an opera, with recitative lines that are sung, connecting songs that develop and advance the story. Using both the songs and these interludes to maximum effect is Martin Sola as Che. It was clever and effective to have the Argentina-born Marxist revolutionary as a sort of one-man Cuban chorus narrating her life. He joins in protest mobs and frequently gets hauled off by the police, but mostly he makes sardonic commentary. She claimed to have a lifelong loyalty and affection for the poor, as did he, so who better to confront her? Eva Peron established a charity for her precious “shirtless ones,” but she didn’t neglect to also set up a numbered bank account.

While “Don’t Cry for Me, Argentina” is the most familiar of the rousing songs here, others have impact, especially the Act I closer, “A New Argentina,” sung by the company. Peron and his glamorous wife started with a country that had high beef production and healthy gold reserves and brought about beef rationing and bankruptcy. Perhaps better than a political history, Evita conveys the social and emotional dynamics of how this could come about.

 

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Related: Grail time, Crusaders, Crimes and misdemeanors, More more >
  Topics: Theater , Politics, U.S. Politics, Entertainment,  More more >
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ARTICLES BY BILL RODRIGUEZ
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