Krystina Alabado

The current touring version of Evita, at Hartford's Bushnell through September 28th, feels like a major theatrical event. Featuring upper level performance (especially by Max Quinlan as Che), the Andrew Lloyd Webber (music)/Tim Rice (lyrics) show packs quite a charge. This is a full and sustaining evening of theater.

During July, 1952, a crowd learns that Eva Peron (Caroline Bowman) has just died. Projection Designer Zachary Borovay provides black and white footage above the actors. Soon thereafter, the action flips backward to 1934, in Buenos Aires, and teenaged Eva. She will have many a relationship with various men and one of those which is significant is with Magaldi (Christopher Johnstone). He cautions her with "Eva, Beware of the City," as Eva, Che, Magaldi and others all sing. Eva moves along and sings on the radio, does some modeling……finally, through Che, Eva meets Peron (Sean MacLaughlin).

An earthquake rocks San Juan and Peron seeks to assist. The "Charity Concert" number finds Peron, Che, and Magaldi all vocalizing. Eva gets to Peron after this event and explains that she could help catapult him to magnificence: "I ‘d Be Surprisingly Good for You." There is a lovely and, really, show-stopping rendition of "Another Suitcase in Another Hall" by Peron's Mistress (Krystina Alabado). Peron pushes on with his quest to become president of Argentina: the first act closes with a resounding song: "A New Argentina," performed by Eva, Che, Peron and the company.

The second portion of the musical opens with Peron's ascendency to the presidency and "On the Balcony of the Casa Rosada." This is followed by the signature, classic tune, "Don't Cry for Me, Argentina," which Bowman delivers cleanly, sweetly, and clearly. One does not fully feel an enormity of heartfelt emotion through her but my sense is that she is very close. It all continues as Eva pushes the agenda - for herself or her husband, Peron? She is proactive in raising money for poor people. Again, Che wonders with "And the Money Kept Rolling In." Eva and Che debate and a lyrical "Waltz for Eva and Che" features the two actors. Rob Ashford's choreography here and elsewhere is laudable. Military people tire of Eva and ask that she be placed at the sidelines, so to speak. Peron disagrees with "She Is a Diamond." Eva, quite ill, wishes to become vice president but she is too near death.

Michael Grandage, directing, fluently facilitates this large production. Christopher Oram's backdrop before which much of the action occurs is grand in scale. Oram designs both set and costumes, accurately reflecting time and place. The imagery, provided by Borovay, which is projected at different moments above the performers, is an asset. Rice and Lloyd Webber bring songs which are now familiar.

Che, redefined now and featuring the current fiery performance by Max Quinlan, is of paramount interest. He is the people's voice and he also holds the story together with narrative. He has a complex relationship with Eva, one which is not easily defined. As personified by Quinlan and, according to this tour, the character is not Che Guevara. Quinlan's tenor is welcome and it rises easily and pleasurably. One awaits his entry during many scenes.

Bowman does well with the title role. Her voice is true and she is most attractive. She does not quite embody the charismatic leader who became galvanic for struggling individuals in Buenos Aires. She is passionate but, again, could up the ante even further. Bowman is a talented musical performer and should truly take more of a creative leap with the role. Sean MacLaughlin, as Peron, plays his part as it was written.

Evita is both dynamic and tender; it benefits from precise staging, lighting by Neil Austin and Nick Potter's sound design. The orchestrations by Andrew Lloyd Webber and David Cullen enhance and broaden the musicality of the show.

Evita continues at the Bushnell in Hartford through September 28th. For tickets, call (860) 987-5900 or visit bushnell.org.

Photo: Richard Termine

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- Fred Sokol