Shereen Pimentel in “Evita” at the American Repertory Theater. (Photo: Emilio Madrid)
A replica of Eva Peron’s famous Dior strapless gown, a cross between an Iron Maiden and a Fairy Princess gown, hangs above the neon-framed stage. Like a three-dimensional diorama of her mummified, the bejeweled white dress comes to life on its own, its bodice unnerving and beckoning, asking the audience to ‘look, don’t touch’. I am warning you.
This mesmerizing image promises an evening of highly stylized art and mixed messages, and is the perfect introduction to ‘Evita’, which is currently running spectacularly at ART’s Loeb Theatre. From the exquisite costumes, choreography, stage design and lighting to the talent of the orchestration and cast, the production values cannot be overstated. One of the most impressive nights of performances on the Boston stage in a while is fortunately and unusually running for an extended period of time in Boston (until July 30th), so there’s plenty of time to get your tickets and enjoy it. is in
The visuals get even better when the scrims lift and the actual show begins. Against the backdrop of silhouettes of men and women in gorgeous haute couture hats and heels, the song and dance suddenly begin, as if the painting came to life. The cinematic and magical effects are thrilling.
This illustrated story centers around Eva Duarte Perón’s rise from rural poverty in Argentina to reigning first lady and beloved titular patron saint. Eva’s journey is complicated and full of contradictions. She shamelessly rises to the top in her sleep, ruthlessly trampling those who get in her way while advocating for the poor, the disenfranchised, and the everyday working class. Greedy for personal ambitions and a “mean girl” by nature, she deeply cares about her beloved country and its people.
Critical observer and cynic Che (outstanding Omar López-Cepero) narrates this legend, flatteringly filling the fairy tale with a fraction of the on-site coverage. In his opposite version, Eva’s deceitfulness and selfish greed obscure the charisma and benevolence she leaves behind.
Shereen Pimental soars as a life-size Eva, captivating audiences with her vocal range and commanding presence. She grabs attention at every moment on stage, whether as a naive 15-year-old seeking an acting breakthrough or as an arrogant fashion dictator who bullies those who don’t bow down to her with her jewels. increase. We may have ambivalent feelings for her, but she can’t take her eyes off her either.
Beneath Sammy Cannold’s wise direction, Emily Maltby and Valeria Solomonoff’s cheeky, earnest tango choreography, and exceptional performances by Pimentel and López-Cepero, the night’s major shortcoming—the play itself. Being a more disjointed abstraction can almost be overlooked. than linear storytelling. Born out of a 1976 concept album by composer Andrew Lloyd Webber and lyricist Tim Rice, the musical is short on character development and storyline, and is full of off-kilter, lengthy operatic tunes. Long (many are over-amplified and difficult to decipher). With the exception of “Don’t Cry for Me, Argentina,” the songs melt together, leaving no choral snippets to loop in your memory after the show ends. But Evita is not about traditional dramaturgy. True to its name, it is about splashes and sparkles, smoke and mirrors, and from the moment the audience turns their eyes to the suspended disembodied gowns to the final note of the orchestra, ART’s rendition , is an unapologetic feast for all the senses. Highly recommend to anyone looking for a night of purely spectacular entertainment.
- “Evita” Music by Andrew Lloyd Webber, lyrics by Tim Rice. Directed by Sammy Cannold. Hosted by the American Repertory Theater in partnership with the Shakespeare Theater Company, 64 Brattle cent, Harvard Square. Until July 30th.
a version This story was originally theater mirror net.