Review: EVITA at Shakespeare Theatre/Harman Hall

Shereen Pimentel, in the title role, headlines a superb ensemble of singer-dancers in the Shakespeare Theatre's production of Evita, through October 15. Pimentel has the three or four different singing voices (and the skills to marshal them) required by Lord Lloyd Webber's through-composed but never operatic score for the life of Eva Perón, Argentina's First Lady from 1946-1952. The two hour show packs 17 years of her life into a constantly moving, theatrical matrix including social, political, and women's fashion history which can often be quite affecting because Pimentel's acting finds simple moments of true emotion amid the bustle and action. She's the real deal. Director Sammi Cannold and Music Director Mona Seyed-Bolorforosh wrangle Evita impeccably and always with flair and clarity. The show's many moving parts must be flawlessly synchronized: these ladies can synch.

Pimentel's Colonel then President Juan Perón, Caesar Samayoa, matches her with his strong baritone and the physical bearing of the martinet Perón was. And Omar Lopez-Capero's powerful tenor can soar above the ensemble or quietly comment in his solos during his role as Che, a sort of narrator/commentator who brings justifiable irony to the story of the fairly narcissistic Perón couple. Everybody dances wonderfully. Emily Maltby and Valeria Solomonoff have choreographed sexy tangos, lyrical waltzes, and martial military musical chairs.

Costume Designer Alejo Vietti's muted palette of grey, blue, and black garments make Evita's gorgeous white clothing stand out the more. Attention to such details as hats, gloves, and the shapes of fur fashions brings authenticity to the look of the show. Ditto the work of Wig and Hair Designer Ashley Rae Callahan. And a tip of the head gear to the dressers and running crew back there who constitute an essential if unseen ensemble, dancing in the dark. The colors in Bradley King's lighting design complement Vietti's costumes, surrounding the company with ever-changing colors (if not a perfect rainbow high) inside Jason Sherwood's elegant set. Some of Tim Rice's lyrics get eaten by Connor Wang's sound design because of what seems to be a balance problem. Astonishing is that Sir Tim's texts often sound as if they're quoting a certain current public figure with such lyrics as, "she didn't say much, but she said it loud" and who often paraphrases Evita (who died when he was 6 and still in Queens) by reminding his subjects, "I still need your love after all I have done." High flying, adored indeed. Nevertheless, this now 45 year old show seems freshly-minted thanks to this energetic company who are all glorious musicians.

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