Cygnet’s “Evita” Another Feather In Sean Murray’s Cap.

“Evita”,with an unforgettable score by Andrew Lloyd Webber and clever lyrics by Tim Rice. is  one of those oldies but goodies that has laged beautifully over the years starting out first as a Rock Opera concept album and in 1976 led to London’s West End where it picked up the Laurence Olivier Award for best musical. Some of the unforgettable numbers include Don’t Cry for Me Argentina,” “Oh What a Circus,” and “You Must Love Me.” 

Hat's off to Murray for bringing this innovative incarnation to us.

Berto Fernández, Ariella Kvashny

In his notes, Artistic Director and director of Cygnet’s current production, of “Evita”, Sean Murray points out that ‘there are two sides to this character called Eva Peron. Some remember her as a saint , others remember her as a destructive force’. Your call.

Just as a recap, the story follows the wayward Eva Duarte (Ariella Kvashny) whose soprano voice was a bit too piercing for yours truly, from her poor as church mice beginnings to her ultimate pie in the sky position as first lady of Argentina. Along the way she ruthlessly pushes ahead with her agenda first as the paramour of Tango singer Magaldi (Matthew Malecki Martinez) “On This Night of a Thousand Stars” and “Eva Beware of the City”) as he follows his warbled career to Buenos Aries. There she makes the case for herself with several men she thinks will improve her status. (“Goodnight and Thank You”) 

Matthew Malecki Martinez and cast of Evita

Once in the ‘city’ she climbs the social ladder first as an actress, then a radio celebrity where she manages to be present at many of the high society events that would ultimate bring her face to face with the up and coming general, Juan Peróne. (Berto Fernández played somewhat as a weak leader not the oft time thug he known to be). She manages to get rid of all of his (sleepover’s) “Another Suitcase In Another Hall” clearing the position for herself. And Vanessa Orozco, as Peron’s discarded mistress, gives a lovely and heart rendering vocal performance of “Another Suitcase in Another Hall.” 

Along the way his career takes off as she rallies  the working class that  in turn elevates him to President. (“The Art of the Possible”,  “I’d Be Surprisingly Good For You” and “A New Argentina”).

And so it went until she finally became First Lady, established her own fundraising charities, became a saint, a princess, a star in the eyes of the populace (“High Flying Adored”). She toured Europe in what was referred to as her Rainbow Tour. (“Rainbow High”, “Santa Evita”) She was greeted with awe in the beginning, but her fame started to wane when the Pope shunned her, she was snubbed in England and her health took a turn for the worse. She died at age 33 from ovarian cancer.

A.J. Mendoza, Cast of Evita

On the dark side of the coin, narrating, was Ché Guevara, outspoken critic of Evita. A Marxist revolutionary, guerrilla leader, diplomat and military theorist. Usually dressed in Army garb, costumer Zoe Trautmann chose to dress A.J. Mendoza (Che) in casual clothes as he moved around the theatre narrating the story.

Complete with actual film clips  (Blake McCarty) of the then Eva Peron, the production brings the audience up close and personal watching history unfold. 

I must admit that I love the score of “Evita” and this particular rendition was sung and danced throughout oft times in Spanish and oft in Engligh by a mostly Latinx cast. The dancing under choreographer Carlos Mendoza is some of the best yet. Between ballet ,ballroom, tango, and every movement in between was a feast for the eyes. 

With musical direction by Patrick Marion and a six piece orchestra backstage the 22 or so musical numbers just flowed from my collected memory with nary a missed beat from the cast.

Back home in Argentina (“Don’t Cry For Me Argentina”) she was the most loved, and admired woman in all of South America. It made no difference what she did, her followers never lost faith in her.

At the time of her untimely death, Argentina was a bankrupt country pretty much the condition she found it when she arrived there, but she always looked like a million dollars. 

Amanda Zieve designed lighting, Evan Eason designed sound, Mathys Herbert the simple, well marked set, Peter Hermann, wigs. Overall, tou won't want to miss this "Evita".Murray couldn't have done a finer job than he did with this Weber/Rice  musical "Evita". 

 When: 7 p.m. Wednesdays through Saturdays, 2 p.m. Saturdays and Sundays. Extended through Oct. 1st.

Where: Cygnet Theatre, 4040 Twiggs St., Old Town State Historic Park

Tickets: $37 and up 

Photo: Karli Cadel Photography

COME TO THE GLITTERY, GLAMEROURS “CABARET” NOW IN A RESTRUCTURED PRODUCTION AT THE OLD GLOBE

Cast and Emcee Kit Kat Klub

With anti-Semitism on the rise across the country and especially in  San Diego and particularly right in my neighborhood, any time is a good time to brush off the pages of the 1966 Kander and Ebb musical that, in its originality, subtly draws us in to 1931 Berlin on the eve of the Nazis’ rise to power. 

Here we find ourselves in the famous or infamous Kit Kat Klub where sitting alone in your room is no substitute for watching the Kit Kat Girls and Boys and dance, gyrate and ‘entertain. 

Deftly directed and choreographed by Josh Rhodes this incarnation was imported from Asolo Repertory Theatre in  Sarasota, Florida. It is based on the play by John Van Druten with stories by Christopher Isherwood

Joanna A. Jones and Alan Chandler

(“There was a Cabaret and there was a master of ceremonies…and there was a city called Berlin in a  country called Germany…and I was dancing with Sally Bowles and we were both fast asleep…)

This reviewer has never seen a “Cabaret” as this one. I was blown away by the big glitzy art deco production numbers designed by  Tijana Bjelajac and told to us by Master of Ceremonies (originally Joel Grey) Lincoln Clauss who is one talented individual. That said, it took some time for the stories between Cliff and Sally, and  Fräulein Schneider and Herr Schmitt to come into focus. It seemed as if the production moved from one big production number to another with bits and pieces of story as side lines.

Most of us who have seen the show in the past, remember it as the story of the ever optimistic, oft times eccentric dancer in the Kit Kat Klub, Sally Bowles (Joanna A. Jones) and her off and on  roommate. American writer Cliff Bradshaw (Alan Chandler) who are forced to share a room in the over crowded rooming house belonging to Fräulein Schneider’s (Kelly Lester). because no one had any money.  Other occupants are a bit shadier, but in Berlin all that we see is not what is.

Joanna A. Jones

And as for Sally, who had her own past to deal with  is like a time bomb with her on and off love for Cliff  and thrives  on everything decadent in Germany. Then there is Cliff who sees what’s happening but is blindsided  laundering money for the Germans. Joanna J. Jones   has one of the smoothest and most velvet of voices (“Maybe This Time”),  

Most of the characters are steeped in an undercurrent of political adversity as Fräulein Schneider’s romantic admirer is Jewish fruit stand owner, Herr Schultz (Bruce Sabath) who considers himself a German first and a Jew second. Need I say more. 

And when the Emcee comes out singing “If You Could See Her Through My Eyes” I was just as offended by the gorilla as I was the pig version. Just a thought. 

Lincoln Clauss, Emcee

Even as the Germans make their presence known and the Emcee is wearing a long black coat similar to the Nazis’,  things at the boarding house between Schultz and Fräulein Schneider (“What Would You Do”?) begin to take its toll as the tide suddenly turns and those thought friendly are now wearing the Red and Black arm bands and all join in “Tomorrow Belongs to Me”. 

Alejo Vietti designed the costumes, once again with the subtilty of those in Brown suits and Cory Pattak the lighting design, Paul Vaillancourt (co lighting), Haley Parcher sound design, Rachel Flesher flight director. 

 I can’t recall how many versions of Cabaret” I’ve seen (I even saw a production of “Cabaret Verboten” and  a production of “Cabaret” on the the Harvard campus on a visit to Boston years ago) and it never ceases to hit a nerve of fear in me as my country seems, like Sally, to not understand the dangers we are in. 

Hat's off to the Old Gobe.

Cast 

“Put down the knitting, the book, and the broom” and head to the CABARET. You won’t regret it.

When: 7 p.m. Tuesdays and Wednesdays. 8 p.m. Thursdays and Fridays. 2 and 8 p.m. Saturdays. 2 and 7 p.m. Sundays. Through Oct. 8.

Where: Old Globe Theatre, 1363 Old Globe Way, Balboa Park

Tickets: $52 and up

Phone: (619) 234-5623

Photo: Jim Cox

Online: theoldglobe.org