Theatre Review & Spotlight by Manning Harris: "Evita"
Thursday, May 03, 2007
The Atlanta Lyric Theatre is already preparing its 2007-
2008 season under new leadership (more about that
later) after a successful closing of its current season with
“Evita” (by Andrew Lloyd Weber and Tim Rice) at the
huge Ferst Center for the Arts at Georgia Tech on April
27-29. The Saturday evening performance I attended
was almost sold out; the Lyric has built a loyal fan base,
and it's wonderful to see them getting that kind of
support; nothing more depressing than a barely-filled
house.
“Evita” is a great big Cecil B. DeMille kind of musical (you
may have seen the excellent film version starring
Madonna) with a simple, powerful theme: “Sic transit
gloria,” or if you didn't take high school Latin, “thus
passes glory.” Throw in a Cinderella story of rags to
riches and power (based on the true story of Eva Duarte,
2008 season under new leadership (more about that
later) after a successful closing of its current season with
“Evita” (by Andrew Lloyd Weber and Tim Rice) at the
huge Ferst Center for the Arts at Georgia Tech on April
27-29. The Saturday evening performance I attended
was almost sold out; the Lyric has built a loyal fan base,
and it's wonderful to see them getting that kind of
support; nothing more depressing than a barely-filled
house.
“Evita” is a great big Cecil B. DeMille kind of musical (you
may have seen the excellent film version starring
Madonna) with a simple, powerful theme: “Sic transit
gloria,” or if you didn't take high school Latin, “thus
passes glory.” Throw in a Cinderella story of rags to
riches and power (based on the true story of Eva Duarte,
a small town Argentinian girl who moved to the Buenos Aires to seek fame and fortune, became an
actress, and eventually married Juan Peron to become Argentina's First Lady, known as Evita).
Unkind people might say she slept her way to the top, but we'll have none of that here: Instead we'll
focus on the sharp mind and “vaulting ambition” (as the Bard would say) that catapulted her into the
hearts of her countrymen (most of them) to this very day; and considering that she died at age 33 in
1952, this is no mean accomplishment. Saint or sinner, she remains a controversial figure in
Argentina.
The Lyric's production, directed by Catherine Grimmell Mew, with music direction by J. Lynn
Thompson, featured Courtenay Collins in the title role; Ms. Collins, who has a flexible voice that can
belt as well as soar into the soprano stratosphere, was impressive and downright regal in the second
act—her hair and gown causing her to resemble, at least from my seat, the real Eva. Omar Lopez-
Cepero (as Che) and Taylor Buice (as Gen. Peron) are fine singer-actors; if you don't have three
performers who can do these roles, you have no show. The Lyric's “Evita” had them, as well as a
strong supporting cast and full pit orchestra. Inexplicably, the downstage area was very poorly lit—an
odd mistake that should never happen. “Evita,” which doesn't have a terribly strong book (it peaks
with Eva's stunning “Don't Cry For Me Argentina” triumph on the balcony of the Casa Rosada and
then inevitably slows as her illness progresses) needs every technical advantage possible.
There are major changes in the Lyric's leadership underway: Longtime Music/Artistic Director J. Lynn
Thompson is moving to Birmingham. Executive Director Dan Britt has left to take an advertising
position. These are big shoes to fill. Stepping in is Brandt Blocker as the new Artistic Director and
General Manager; Blocker is from New Orleans and comes with impressive credentials. We wish him
and the entire company all the best. Next season will feature such shows as “South Pacific,”
“Dreamgirls,” “Little Shop of Horrors,” “1940's Radio Hour,” “Cotton Patch Gospel,” and “Forever
Plaid.”
actress, and eventually married Juan Peron to become Argentina's First Lady, known as Evita).
Unkind people might say she slept her way to the top, but we'll have none of that here: Instead we'll
focus on the sharp mind and “vaulting ambition” (as the Bard would say) that catapulted her into the
hearts of her countrymen (most of them) to this very day; and considering that she died at age 33 in
1952, this is no mean accomplishment. Saint or sinner, she remains a controversial figure in
Argentina.
The Lyric's production, directed by Catherine Grimmell Mew, with music direction by J. Lynn
Thompson, featured Courtenay Collins in the title role; Ms. Collins, who has a flexible voice that can
belt as well as soar into the soprano stratosphere, was impressive and downright regal in the second
act—her hair and gown causing her to resemble, at least from my seat, the real Eva. Omar Lopez-
Cepero (as Che) and Taylor Buice (as Gen. Peron) are fine singer-actors; if you don't have three
performers who can do these roles, you have no show. The Lyric's “Evita” had them, as well as a
strong supporting cast and full pit orchestra. Inexplicably, the downstage area was very poorly lit—an
odd mistake that should never happen. “Evita,” which doesn't have a terribly strong book (it peaks
with Eva's stunning “Don't Cry For Me Argentina” triumph on the balcony of the Casa Rosada and
then inevitably slows as her illness progresses) needs every technical advantage possible.
There are major changes in the Lyric's leadership underway: Longtime Music/Artistic Director J. Lynn
Thompson is moving to Birmingham. Executive Director Dan Britt has left to take an advertising
position. These are big shoes to fill. Stepping in is Brandt Blocker as the new Artistic Director and
General Manager; Blocker is from New Orleans and comes with impressive credentials. We wish him
and the entire company all the best. Next season will feature such shows as “South Pacific,”
“Dreamgirls,” “Little Shop of Horrors,” “1940's Radio Hour,” “Cotton Patch Gospel,” and “Forever
Plaid.”
Atlanta INtown - IN The Loop