At ART, ‘Evita’ revisited for a new generation
By Rich Fahey
CAMBRIDGE — Even seen through wisps of smoke, a new Argentina emerged on stage.
The American Repertory Theater’s new production of Andrew Lloyd Webber’s musical “Evita” is the vision of director Sammi Cannold, 29, who has been trusted with a show that clearly has hopes of following other ART productions to Broadway.
Wisps of smoke that have been making their way south from Canadian wildfires were clearly visible in the lights shining down on the stage of the Loeb Drama Center at a recent performance, but the actors were unbothered. That left Cannold’s vision front and center in recalibrating the balance between good and evil in the tale of Eva Perón, the woman who made a meteoric rise from an impoverished childhood to become first lady of Argentina until her death at 33.
Cannold directed a production of the rock opera for her thesis at Stanford. As part of that project, she went to Argentina to research Eva’s life. Then, in 2019, she directed a concert-style production of the show for the Encores! Series at New York City Center.
Her relationship with the piece dates back to 2012, when she saw the Broadway revival and became “obsessed” with the show. In all, she made four trips to Argentina for research; she spoke to Eva’s former nurse and interviewed Argentinians about their feelings about Eva.
The old saw taken from the film “The Man Who Liberty Valance” says that when the fact becomes legend, print the legend. But that’s already been done in other productions of “Evita.” Cannold’s “Evita” is not only more balanced in its approach to its subject; she has also intentionally doubled down on the negative aspects of the regime of Juan Perón (Caesar Samayoa).
Shereen Pimentel, who was Maria in the 2020 Broadway production of “West Side Story,” dons the iconic Dior ball gown and blonde bun in this production. She has the requisite magnetism and charisma and the voice to be both the fact and the legend, and she is luminous on the balcony in the show-stopping “Don’t Cry for Me, Argentina.”
Cannold’s ally in the quest to balance the books is already onboard: Che (Omar Lopez-Medeo), the revolutionary who serves as a guide, narrator, commentator and conscience as the story unfolds. He calls ‘em as he sees ‘em, especially when the evidence of the corruption in Juan Perón’s brutal dictatorship becomes overwhelming.
In his voice, and mannerisms, Lopez-Medeo often recalls a young Mandy Patinkin, who won the Tony in 1980 for his portrayal of Che; it’s especially true with Lopez-Medeo’s falsetto in the lovely “High Flying, Adored.”
Cannold’s vision also included infusing this “Evita” with as much Argentinian culture as possible. She hired award-winning tango choreographer Valeria Solomonoff to work with Emily Maltby on the choreography, and the resulting production numbers are bright and sassy. “The Money Kept Rollin’ In (and Out)” is one of many dazzling numbers.
While taking Juan Perón to task. Cannold also wants us to remember that while Eva Duarte’s road to the top may have been pockmarked and shaky, she was still the young girl who was only 15 when a 36-year-old tango singer named Magaldi (Gabriel Burrafatto) first took advantage of her. Alas, Eva also takes full advantage of every opportunity; soon after meeting Juan, she “deposes” his former mistress (Naomi Serrano), whose lament in audible in the plaintive “Another Suitcase in Another Hall.”
But Cannold also includes the moment when soldiers showed their disdain for Eva by discarding their gloves after shaking hands with her, and a softer moment when Eva meets an admiring young child (Sky Vaux Fuller).
David Cullen and Lloyd Webber re-orchestrated the score Lloyd Webber wrote with lyricist Tim Rice, based on Lloyd Webber’s original work. Music director Mona Seyed-Bolorforush conducts and the resulting re=-orchestrated score is lush and full.
The production values are what you’ve come to expect from past ART productions. Emmy Award-winning set designer Jason Sherwood opens with the striking sight of Eva’s ball gown suspended in mid-air at center stage and later immerses her in terraces of flowers.
After this run ends, this production will move to the Shakespeare Theatre Company in Washington, D.C. before any other decisions on its future are made.
Obsession is not necessarily a bad thing. Cannold has taken her passion for the piece and run with it, incorporating the best of what has come before. Her talent, energy and insight have created a spectacular new “Evita” for the present.
The American Repertory Theater in association with the Shakespeare Theatre Company production of “Evita.” Lyrics by Tim Rice, music by Andrew Lloyd Webber. Directed by Sammi Cannold. Choreography by Emily Maltby and Valeria Solomonoff. Scenic design by Jason Sherwood. Costume design by Alejo Vietti. Lighting by Bradley King. Sound design by Conner Wang. Hair and wig design by Ashley Rae. At the Loeb Drama Center through July 30.amrep.org
