O.C. THEATER REVIEW : Passionless ‘Evita’ Revival Fails to Rouse

Eva Peron takes an awfully long time to die at the end of “Evita.” Always has and always will. The Andrew Lloyd Webber/Tim Rice musical is just written that way.

In a good production, we probably don’t mind. Her slow passing, with all those histrionics as she broadcasts her big adios to the faithful, and her deathbed gasps later, serve as an emotional coda to a spectacularly cynical and opportunistic career. With a first-rate staging, we’re at least interested, if not fascinated, by Eva’s end.

It was hard to care Tuesday night at the Orange County Performing Arts Center, where a national touring production has set up shop through Sunday. Although splashy--yes, the placard-carrying extras and big screen projections are in place--this revival is mechanical and uninspired, a barely basic working of the 1979 Broadway hit that won Tony Awards, including best musical.

Director Larry Fuller and his cast have made Eva’s tale almost boring, which 14 years ago might have seemed impossible. True, the musical isn’t as fresh as it once was--the combination of melodramatic storytelling and political agitprop made for an exciting, even provocative, mix back then--but the material still presents juicy opportunities.

Born poor and illegitimate, Eva Peron slept her way to the top of Argentine power, eventually becoming the country’s “spiritual leader” at the side of her husband, Juan Peron.

There’s an awareness of Eva’s voracious ambition, and her out-sized flaws, in Valerie Perri’s performance, but not enough. Perri’s portrayal is all about surface tension, where we see her portray the simple feelings of Eva--first she’s ruthless; then she’s sexy; finally, she’s sad and broken--but not much more. Her characterization isn’t dynamic, and that says something when you realize that Perri is the most vital actor on stage.

She’s disappointing, but not like John Herrera. As Che, Herrera had little potency Tuesday, and that went far in setting the tone for the entire production. The revolutionary leader is supposed to serve as the musical’s moral conscience, but here he’s hardly an afterthought.

Juan Peron, a quieter role played too quietly by David Brummel, doesn’t have the impact he should, either. And for comic relief, even Magaldi, the silly crooner who serves as the first of Eva’s stepping-stone lovers, can’t be counted on for his usual tried-and-true laughs. Sal Mistretta neglects to have any real fun with him.

As for the singing, well, there were some surprisingly rough patches Tuesday. Shouldn’t the kinks be worked out by now? Herrera was especially spotty, but Perri also got shrill at times, although she did offer an adequately zealous rendition of the signature tune, “Don’t Cry for Me, Argentina.”

“Evita” also has well-known set pieces that can provide an ironic tickle or two and an occasion for experimentation. “The Art of the Possible” and “Peron’s Latest Flame” are usually golden. But this staging only settles for the obvious, which just doesn’t satisfy these days.

* “Evita,” Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Tuesday-Sunday, 8 p.m., Saturday and Sunday matinees, 2 p.m. Ends Sunday. $19-$45. (714) 556-2787, (714) 740-2000 or (213) 480-3232. Running time: 2 hours, 15 minutes.

Valerie Perri: Eva

John Herrera: Che

David Brummel: Peron

Sal Mistretta: Magaldi

Jennifer Rae Beck: Peron’s mistress

Donna Marie Asbury: Eva (certain performances)

David Roberts and Tara Tyrrell: Tango couple

A Pace Theatrical Group production. Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Directed and choreographed by Larry Fuller. Musical direction by Kevin Farrell. Sound by Abe Jacob. Lighting by Steve Cochrane. Costumes by Jonathan Bixby.

* POST-PERFORMANCE PARTY: Cast members mingle with center supporters at Birraporetti’s. E2