Review: A Stirring EVITA at Reagle Music Theatre Of Greater Boston

In act two of the Andrew Lloyd Webber and Tim Rice musical “Evita,” a beleaguered Eva Perón pleads “You Must Love Me.”

That lyric might well be adjusted to “You Must See This” for the stirring new production currently being presented by Reagle Music Theatre of Greater Boston at the Robinson Theatre in Waltham through July 20, which proves there’s much to be swept up by in the story of the Argentinian actress Eva Perón who went on to become the country’s First Lady, wife of army officer-turned-dictator Juan Perón.

With music by Lloyd Webber and lyrics and book by Rice, the musical became a sensation with its debut in London’s West End in 1978, and on Broadway a year later, where it was the first British musical to receive the Tony Award for Best Musical. And there have since been other productions of “Evita” in London’s West End – where Rachel Ziegler is currently starring in Jamie Lloyd’s acclaimed revival – as well as on Broadway, on tour, on film, and locally, too. The current Reagle mounting is the third “Evita” that the company has presented in its long history.

The title role, originated by Elaine Paige in London and first brought to life on Broadway by Patti LuPone, is played here by Isabella Bria Lopez, who understudied the part in director Sammi Canold’s production at the American Repertory Theater’s Loeb Drama Center in Cambridge two summers ago. Lopez is vocally stellar throughout, demonstrating impressive range and particular skill at keeping her tone during the belting parts of numbers including “Buenos Aires,” and “Rainbow High.”

Well directed and choreographed by Rachel Bertone, this production captures the subtleties of Eva’s victimhood along with her more familiar villainy. While Eva is maneuvering her way to the top, bedding and then setting aside an array of increasingly powerful men, Bertone deftly makes sure we see that all that climbing and clawing left scars not only on the discarded men but also on Eva, whose carnivorous quest began while she was still a teenager. The choreography is crisp, sharp, and eye-catchingly performed not only by the leads but also by a very talented ensemble.

Bertone briskly paces act one, matching Eva’s own meteoric rise from an impoverished youth to the height of political power, without sacrificing any of the treasures found in this sung-through musical. Indeed, Lloyd Webber’s score, and the catchy, clever Rice lyrics, are performed for all their worth by a company of superb singers under the commanding music direction of Dan Rodriguez.

It’s the score that has made “Evita” a go-to in the modern musical theater canon. With act one’s “Oh, What a Circus,” Che (Eddie Noel Robriguez) – a not-so-adoring member of the public – mocks the crowd of Perónistas known as “descamisados” (the shirtless ones) gathered to mourn Eva’s death from cervical cancer at age 33.

The Che character serves as a counterpoint to Eva, offering sardonic assessments of her many machinations. Che, who rarely comes face to face with Eva, seems to all but retreat, however, after making his points on numbers like “Good Night and Thank You” and “The Lady’s Got Potential,” when he should be an always-present thorn in the side of the protagonist, as he is on “High Flying Adored” and “Rainbow Tour.”

Conversely, Ryan Mardesich’s Juan Perón is more dimensional here than in some other productions, making his marriage and political partnership with Eva (“I’d Be Surprisingly Good for You”) feel more real. Also doing fine work are Ricardo “Ricky” Holguin as tango singer Augustin Magaldi (“On This Night of a Thousand Stars”) and Rebekah Rae Robles as a young Perón mistress shown the door by Eva on the plaintive “Another Suitcase in Another Hall.”

Costume and wig designer Ellie De Lucia does yeoman work with Costume World Theatrical’s array of dresses and tailored suits for Eva. De Lucia has also beautifully fitted the stunningly recreated Dior gown with its tight bodice and voluminous tulle skirt to Lopez who wears it to full  advantage.

With summer days in Waltham often hot, the action stays fully inside, unlike the current UK production which moves the balcony scenes to the exterior of the London Palladium. Indeed, scenic designer Cameron MacEachern keeps the sets simple while still evocative of mid-20th century Argentina, enhanced by Baron Pugh’s effective lighting and projection design. Longtime fans will likely long for a more classic Casa Rosada balcony set, but may come around to its replacement here, especially when Lopez delivers the show’s signature song, “Don’t Cry for Me Argentina,” at the top of act two.