THEATER REVIEW : ARTISTIC RISKS PAY OFF WITH A DAZZLING ‘EVITA’

The power of “Evita” is confirmed.

This operatic commentary on Eva Peron’s shady rise to Argentine glory shook off the usual Starlight distractions (airplanes, microphone problems and crowd noise) at Thursday’s opening. Tim Rice’s potent lyrics and Andrew Lloyd Webber’s stirring music reverberated through the Balboa Park amphitheater with the same intensity that created a fuss when “Evita” first crossed the Atlantic in 1979.

It’s the story that grabs listeners by the throat. Webber’s music superbly reflects the magnitude of events surrounding the rise of Juan Peron from general to dictator--a circumstance that would not have occurred, according to this retelling, without the relentless push of Eva Duarte, a lower-class girl with a strong power addiction flowing through her veins.

The musical pits Eva, or “Evita” as she was nicknamed by the masses who loved her, against the strong conscience Rice and Webber believe she did not possess. The angry questioning of her tactics and motives comes through the mouth of revolutionary Ernesto (Che) Guevara, in a slight twist on actual events that is acceptable because it makes such terrific theater. As the program disclaims, “there is no evidence whatsoever” that the two ever met.

The effectiveness of “Evita” is well-confirmed. Questions about historical accuracy or the morality of such a highly stylized mini-biography have been overshadowed by the intensity of the theatrical experience. Audiences don’t leave the theater with smiles--more likely they’re wondering where they can find a biography that will fill in the blanks.

In her own lifetime, Eva Peron created the image of herself as Santa Evita, the saint and savior of her poverty-battered country, while surrounding herself with riches and failing to account for all the millions poured into her charitable foundation.

It is not surprising, then, that in death she has become a model of personal greed and power lust, capable of delivering a strong and timeless message. We have not yet freed ourselves from the charismatic persuasiveness of such individuals, both male and female, who steal our hearts, then rob us of our self-respect as much as our wealth.

Che, built to an appropriately bitter edge at Starlight by Scott Holmes, raises plenty of questions through the non-stop musical exchange. The most troubling has to do with where the burden of responsibility lies--with the girl from the slums who wanted to be a star, or the people who were blinded by her dazzling bravado?

Directors Don and Bonnie Ward should be commended for the risks they have taken in staging “Evita.” They have also taken precautions to ensure success.

Hiring Holmes, who has played the pivotal role of Che before, was one of their best ideas. His baritone voice, capable of enduring the trials of this musical marathon, smoothly flies around Webber’s rock-eccentric melodies.

Derin Altay, another “Evita” veteran, handles herself skillfully as Eva Peron, a distasteful task for any actress. Her vocal range covers the demands, but it would be unfair to gauge quality so unkindly distorted by the Starlight sound system. Altay does possess the strength to make the monster real, even pitiable.

David Wasson as Peron and David Dannehl as Eva’s first conquest, Magaldi, keep their characters efficiently in the background, as the script demands. Robin Bartunek’s poignant solo as Peron’s mistress, “Another Suitcase in Another Hall,” suffered from repeated airplane intrusions, leaving the soft-voiced actress outmaneuvered on opening night.

“Evita” challenges every member of the Starlight family--wonderfully so. Milton Greene’s orchestra had mixed success meeting this challenge, which required non-stop playing. There seemed to be some disagreement on tempo with the lead singers, and more sour notes emerged from the pit than are usual.

The production’s greatest asset is also musical. Every word sung by Eva, Che and Juan is distinguishable, preserving Rice’s important lyrics in a triumph of careful enunciation.

The soldiers in “Peron’s Latest Flame” did not fare so well, their lines crooked and their words muddied. More effective are the Argentine upper classes, represented by a clump of performers moving in unison, and the group of children carrying lighted candles, singing “Santa Evita”--an ominous number that brings more chills than the night air.

The bigger production numbers feature some pleasing contemporary dance styles (even a hint of Fosse), but the staging was a little ragged on opening night. The tango dancers, Javier Velasco and Reina Bolles, compensated somewhat.

Ken Holamon’s scenic design is refreshingly spare and modern, relying heavily on Bill Gorgensen’s lighting. A huge screen takes over the stage when it noiselessly appears, like Big Brother, with black-and-white slides and film clips of the real Eva and Juan Peron. The technique helps considerably to evoke the reality of the story, which could have easily deteriorated into just another summer entertainment in this particular setting. (There were a few nervous laughs heard from an audienced used to lighter fare.)

Tara’s costumes for Eva barely suffice, falling short of the standards such a woman would really demand.

But these minor problems give way to the haunting mood of “Don’t Cry for Me, Argentina” and the sarcasm of “And the Money Kept Rolling In (and Out).” Starlight’s artistic stretch pays off, and “Evita” is an experience that should not be missed.

“EVITA” Lyrics by Tim Rice. Music by Andrew Lloyd Webber. Staged by Don and Bonnie Ward. Music director-conductor, Milton Greene. Choral director, Fred Rigby. Scenic design, Ken Holamon. Lighting, Bill Gorgensen. Costumes, Tara. Sound, Bill Lewis. Technical director, Larry Kane. Production stage manager, Jimmy Ray Hutton. Featuring Derin Altay, Scott Holmes, David Wasson, David Dannehl and Robin Bartunek. Nightly except Monday at 8:30 p.m., through Sept. 21, at Starlight Bowl, Balboa Park. Produced by the San Diego Civic Light Opera Assn.