Reviewing Theatre For Over 40 Years
“Evita” at the Candlelight Pavilion: Not Quite Enough
For this reason, I am always on the lookout for a production of “Evita.” It can still have a lot to say. Yet, there are certain things which simply must be present, especially two truly dynamic performers, one to play Eva Peron herself, and one to play the narrator, revolutionary Che Guevara. It can be high tech or low, large cast or smaller, but if these two parts aren’t cast with people of strong voice and stronger personality, it doesn’t work.
Which brings me to the new production of “Evita” at the Candlelight Pavilion Dinner Theater in Claremont. Years ago, when the musical was new, I saw the first truly low-tech version of the show at Candlelight, and was impressed by how well the show held up without all the fancy machinery or the huge cast. I wish I could say that this new production was as successful.
Despite a solid production, and a good to very good ensemble to back up the central figures, there is still a problem. Richard Bermudez makes fine work of Che: angry, sarcastic and powerful by turns. John LaLonde takes what has to be one of the most underrated parts in modern musical canon, Juan Peron, and makes him a real personality. But sadly these strong personalities only emphasize the comparative lack of zing in Laura Dickinson’s Evita.
She does all the moves, and – though sometimes her rock-style high notes become too shrill – handles the difficult music with a reasonable style, but the energy which creates this actual, larger-than-life character is absent. This is not the woman thousands of descamisados would have muscled into (albeit surrogate) power, who would have charmed all the charmable of Argentina. The fire is missing.
Which is admittedly a pity, because Chuck Ketter’s direction of the show moves it from its big-stage roots to the small and intimate Candlelight space without losing its most essential bits. Roger Castellano’s choreography almost has to be derivative of the original, but is generally well done. Admittedly (and this was also true the first time) one misses the projections which enhanced one or two moments, but doing “Evita” low-tech is also a great way to prove the show’s actual power is not based on gimmicks. And by and large this is still true. Except when it isn’t.
Indeed, there are a few lost moments, not all of which can be laid at Dickinson’s feet. The staging of Alexandra Specter’s brief moment in the sun as Peron’s dismissed mistress leaves her without the anchor of a door. Lucas Coleman’s turn as Magaldi, the tango singer who takes Eva to Buenos Aires, lacks fluidity or the kind of oily sexiness which makes him interestingly small-time.
Also, and very disappointingly for a show in which one can be swept up by orchestral moments alone, the score (always a recording at Candlelight) makes significant use of electronics rather than actual strings, robbing the music of its richness.
So, should one see this “Evita”? It has things to recommend it, and it comes with a fine meal. Is it what it could have been, at this venue? Not really. Having seen what this theater is capable of in relation to this important work, it should be better than it is.
What: “Evita” When: Through June 28, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. on Sundays, and at 11 a.m. for lunchtime Saturday and Sunday matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adults/ $30-$35 children 12 and under, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com