Liam Fitzpatrick’s Che complements Erin Williamson Sills’ powerful portrayal of the Argentianian icon
By Russ Tarby
contributing writer
An insatiably ambitious brunette, an advocate of the poor and needy, rides her husband’s political coattails to a position of power. Now a photogenic blonde, she becomes one of the best known women in the world and stands poised to assume leadership of an entire nation.
Sound familiar?
There are many differences between Eva Duarte Peron and Hillary Rodham Clinton. Evita had to deal with a menacing military while heralding labor unions tied to communists. Hillary supported a war in Iraq and courted Wall Street capitalists to fund her campaigns. Like Evita, Hillary is hailed as a saint by some and vilified as a sinner by many others.
Hillary outlived Evita in more ways than one. Evita was a starlet at 22, the president’s mistress at 24, First Lady at 27 and dead at 33. Hillary is now 68.
In any case, Abel Searor — the award-winning music man who makes his directorial debut with “Evita” — points out that the Webber and Rice rock opera “is at its core a love story, the story of a woman and her love for her country, the people, her husband and her pride.”
Sparked by several strong performances, Searor’s sensitive handling of a difficult score, and dazzling dance routines devised by choreographer Sami Hoener, “Evita” is absolutely thrilling audiences at the CNY Playhouse.
While the charismatic Erin Williamson Sills impresses as Evita, actor Liam Fitzpatrick steals the show as Che, a kind of one-man Greek chorus who questions the Machiavellian machinations of the legendary Argentinian first lady who died in 1952. Fitzpatrick’s vibrant tenor has never sounded so good, so full-bodied, so powerful as it does here. His singing is spectacular on numbers such as “Good Night, and Thank You” and “High Flying Adored,” but his acting talent, so well expressed via his eyes, also brings his character to life.
As Juan Peron, the dependable Robert Searle gives a softer-than-usual portrayal of the reluctant South American strongman. As tango-singer Agustin Magaldi, Ben Sills sets the mood with his Act One performance of “On This Night of as Thousand Stars.” As Peron’s spurned mistress, Carleena Manzi vocalizes a bitter “Another Suitcase in Another Hall,” with help from the men’s chorus — Declan Cavanaugh, Jacob Ellison, Christopher Lupia, Derek Powell and Jordan Triss.
Two “children” — Elizabeth Rolnick and Emilie Pitts — reprise the famous “Don’t Cry for Me” melody on “Santa Evita,” while the female ensemble — Kathy Egloff, Korrie Taylor, Terri Kennedy and Jennifer Stace — excel in crowd scenes such as Act One’s “Oh What a Circus” and Act Two’s climactic “Lament.”
One of the best things about this “Evita” is Sami Hoerner’s kinetic choreography. Hoerner excitingly combines elements of the tango, military marching and circling folk dances on high-kicking numbers such as “Buenos Aires.” The dancers twirl almost uncontrollably on “And the Money Kept Rolling In.” Wow — what a payoff !
The visual extravaganza is completed by Dustin Czarny’s set design and the costuming expertise of Carleena Manzi, Stephanie Long, Laurie Rolnick and Shelby Gilbert.
Meanwhile Abel Searor not only directed and helped design the set but also conducted the show’s capable seven-piece pit band. Kudos to drummer Scott Madonia for several lengthy and dramatic drum rolls.
“Evita” runs at 8 p.m. Thursday, Friday and Saturday, July 28, 29 and 30 and Aug. 4, 5 and 6. and at 2 p.m. Sunday, July 31, at CNY Playhouse located near the Macy’s entrance at DeWitt’s Shoppingtown Mall; Tickets cost $22 on Thursday and Sunday and $25 on Friday and Saturday; 885-8960; cnyplayhouse.com.
