What’s new, Buenos Aires? How about a decades-old musical production that doesn’t feel stale, but instead has leads with charisma to spare and innovative staging that seamlessly incorporates both sign language and actors with disabilities?
That is what Open Circle Theatre brings us with Evita, a hugely entertaining, cabaret-style take on the Andrew Lloyd Webber musical about Eva Duarte’s transformation from country nobody to first lady of Argentina. Open Circle’s productions are handicapped-accessible both to its audiences and its performers. In Evita we see choreography that showcases exceptional dancers while preventing those with lesser abilities from being a distraction. Sign language is part of the show, rather than just an afternote interpreter on the side – each lead has his or her own corresponding signing partner who plays an integral part in the production (Eva and Che’s assistants, for example, become showcased dancers during the show’s memorable waltz scene). And it becomes fascinating to watch how wheelchair-grounded Che (Rob McQuay) will be brought out onstage, whether it be from behind a podium or riding a military vehicle.
As Evita, Amanda Johnson has everything we’d hoped to get from the lead in last year’s national tour; her Eva commands our respect and receives our pity, even as we question her methods. Johnson’s chesty voice is a perfect match for the demands of the role, and she wonderfully exudes the vulnerability necessary to make the part sympathetic, particularly during her closing speech and a moving rendition of “Don’t Cry For Me, Argentina.” As her interpreter, Roslyn Ward brings grace and a sense of playfulness to her role. McQuay as Che does an excellent job balancing the anger the role requires with a sarcastic bemusement, making him a trustworthy guide throughout the musical’s proceedings; his interpretor (Warren Snipe), complements with rage and masculinity. Scott Sedar, though he strains a bit on his high notes, has a kind of populist appeal as Peron that makes him a believable leader; he is aided by a purely militaristic intepreter (Raymont Anderson). Stephen McWilliams’ Magaldi, the second-rate guitarist who brings young Eva to Buenos Aires, has the perfect balance of sleaze, cheese and genuine charm required for a role that is often overdone or miscast.
