Battalion/Page 3
February 15, 1983
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Florence Lacey stars as Eva Peron in the
Broadway musical “Evita” which con
tinues tonight and Wednesday at 8 p.m.
OP AS and Town Hall are co-sponsoring
the show. Some tickets are still available.
Wholesale
Gems
Authenticity Guaranteed Proceeds go to
Company S-2 2604493 for personal show-
big booth in MSC Feb. 14 fie 15. Quantity
iscount.
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Past comes alive in ‘Evita’
by Gary Barker
Battalion Staff
“High flying, adored, what
happens now, where do you go
from here?” Che Guevara asks
Eva Peron at the height of her
popularity. Indeed, after watch
ing a delicious, professional
Broadway treat like “Evita,” the
usual local fare will seem mun
dane.
The award-winning musical,
which was performed Monday-
night for a full Rudder Audi
torium, is based on the rise to
power of Eva Duarte Peron, the
Argentine farmer’s daughter
who became that country’s first
lady.
The story, which is told
almost totally by song, shows Eva
becoming a popular actress,
climbing up the social ladder —
as the play suggests, anyway —
by sleeping with a few of Argen
tina’s more influential men.
At the age of 27, she marries
Juan Peron shortly before he is
elected president in 1946.
Peron’s victory was largely due
to Eva, who gathered tremen
dous support among Argetina’s
working classes with her I-am-
one-of-you routine.
The play deals mainly with
Eva’s love affair with power,
glory and Argentina’s working
classes — who refer to her affec
tionately as Evita, or little Eva.
Narrating the story is Che
Ciuevara, the leftist Argentine
revolutionary. Although
Guevara never actually had any
contact with the Perons, he was a
student when they rose to power
and serves as the perfect critic
for the their totalitarian leader
ship.
In traditional play form, the
story could become bogged
down in the historical details of
the era. But as a musical, the
show — written by Tim Rice and
Andrew Lloyd Webber of “Jesus
Review
cer. Peron comforts her as she
sees her past, evoking her oft-
repeated anthem, “Don’t Cry
for Me Argentina... I am unde
serving of such attention unless
we all are — I think we all are.”
The play’s only major flaw is
its ending — it fizzles. The play
lacks ending punctuation; there
is no finale or funeral dirge, just
a passing comment from
Guevara. As the curtain drops,
the audience is left wanting one
more chorus of “Don’t Cry for
Me,” and is left pondering the
signif igance — the enigma — of
Eva Peron.
Christ Superstar” fame — soars,
yet remains relatively faithful to
history.
The show’s wide range of
musical styles — from flamenco
rhythms to gently flowing bal
lads to symphony — deliver the
drama of Evita’s story.
The superbly choreographed
dancing also adds to the drama.
The play makes brilliant use of
crowd scenes, empty space and
frozen action to heighten the im
pact of the story. The play’s sty
listic sets and special effects, in
cluding slides and film, also
serve to keep the audience’s eyes
busy while the ears are enter
tained.
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The acting and singing are
equally inspiring. James Sbano,
who plays Guevara, is wonderful
as he mocks Evita and her lack of
immortality; he is always watch
ing her, sarcastically reminding
her of her vices.
Florence Lacey, as Evita, pro
vides a wide range of vocal abil
ity and emotions. John Leslie
Wolfe, is equally superb as Juan
Peron. With his corrupt grin
and animated face, he eff icient-
ly characterizes Peron.
In the most dramatic scene of
the play, Evita confronts the fact
that she will die soon from can-
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