Impactful ‘Evita’ Rises at Silhouette Stages

 

Samantha McEwen Deininger as Eva (C), Matt Sheer as Peron (R)
and J.R. Hontz (L)

With the U.S elections right upon us, there is, as you can observe, much political drama, apprehension, divisiveness and anger. With all that, our politics is quite tame (so far) compared to other periods in our world’s history.  The political atmosphere during the 1940’s to 1950’s in Argentina, which was at times tumultuous and deadly, forms the backdrop for the award-winning musical Evita that is kicking off Columbia Maryland’s Silhouette Stages’ 20^th season.

Despite some sound snafus, particularly with the mic’s on opening night, the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic. Hopefully, the sound issues will be ironed out in future performances.

Andrew Lloyd Weber’s music and Tim Rice’s lyrics powered Evita to seven Tony Awards in 1980 with the musical achieving considerable success throughout the world. The lyrics and storyline of the musical are based on Mary Main’s biography, Evita: The Woman with the Whip.

The story, told mostly through song, spans the rise to prominence of Eva Duarte from her impoverished beginnings at the age of 15 to her ascent to power by becoming Argentina’s First Lady, Eva Perón, and concluding with her early death at the age of 33. The action depicting her story takes place between 1934 and 1952.

Along the way, Eva was a radio actress who had reportedly slept around to gain advantage. She met a military colonel Juan Perón at an earthquake relief concert and eventually became his wife prior to his becoming the country’s president.

Brian Dauglash as Che

She started a charitable foundation and connected with Argentina’s women and the powerless.  However, she was reviled by the country’s wealthy elite class and the military.

While historians and authors have debated over the years the historical accuracy of Rice’s portrayal of Eva derived from Main’s work, the production at Silhouette Stages will please no matter your political persuasion.

Daniel Douek directed, and Amie Bell choreographed this adroitly performed iteration of Evita.  The direction is taut and well-paced; the choreography is precise and plentiful. The dancing in such numbers as "Buenos Aires" and "And the Money Kept Rolling In (And Out)" is outstanding.  There is much motion and activity on the stage adding to the dynamism of the show.

Lloyd Weber’s splendid score encompasses an eclectic array of music including classical, rhythmic and ballads.  “Don’t Cry For Me Argentina” sung by Samantha McEwen Deininger as Eva is the show’s popular signature song with its emotional might.  “And the Money Kept Rolling in (And Out)” is a favorite of mine not just for the musicality and clever lyrics but also for its snappy choreography. Other notable songs include the well-choreographed “Buenos Aires,” “Oh What a Circus,” “The Art of the Possible,”  “Another Suitcase in Another Hall” and “You Must Love Me.”

"...the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic."

Samantha McEwen Deininger, an accomplished musical artist, plays the role of Eva with passion and nuance.  (Patti LuPone, who starred in the original Broadway production of Evita, characterized the vocal demands of the role as “a part that could only have been written by a man who hates women.”)

Ms. Deininger overcomes that challenge with her big and crystal clear soprano voice. She soars in many of the show’s numbers amid innumerable costume changes. Ms. Deininger is especially effective in the duet with Perón (Matt Sheer) in “I’d Be Surprisingly Good For You” and as a solo, the tender ballad “You Must Love Me,” a song that was actually written for the 1996 film adaptation of the musical.

Another superb performance is turned in by Brian Dauglash as Che. The name suggests that the character is the revolutionary Che Guevara who happened to have been Argentine.  No Che-related military attire and no other references to Guevara are in the show.  Instead, Che is generic and performs as the story’s “narrator” who binds the plotline together.

Matt Sheer as Perón (L), Samantha McEwen Deininger (R)

Mr. Dauglash is onstage a vast majority of the time and performs in all but a few of the show’s musical numbers including several duets with Ms. Deininger. He possesses a solid voice that because of the required workload, his vocals must stay strong throughout.  And they do.  When called on to dance, he does so very effectively.  Mr. Dauglash, with his energy and strength, commands the stage throughout the production.

Matt Sheer as Perón has a potent stage presence befitting the character and demonstrates vocal prowess particularly in “She is a Diamond.”

Henry Cyr who was superb in Silhouette Stages presentation of The Wedding Singer and is the theatre’s Artistic Director plays the role of Magaldi, Eva’s one-time flame. He performs extremely well in “On This Night of a Thousand Stars” and “Charity Concert” though he was unfortunately hampered by mic difficulties on the night this performance was reviewed.

Julie Mimms makes a brief appearance as Perón’s Mistress whom Eva dismisses and send her on her way.  Her lovely rendition of the emotional ballad “Another Suitcase in Another Hall” is rightly gentle.

On stage during most of the show is the wonderful Ensemble who symbolizes the people of Argentina.  They, too, perform in a wide variety of vocal numbers and dance routines and do so with meticulousness.

Other members of the talented Ensemble include Felicity Clark and Kenna Mayo as the Children of Argentina, Megan Barnes, Jason Britt, Libby Burgess, Judah-Isaac Canizares, Tori Farnsworth, J.R. Hontz, Jae Jones, Gillian Keirn, John Lynch, Glennyce Lynn, Erica Miller, Otega Okurume, Nathanael Quay, Katie Sheldon, Jose Reyes Teneza, Nick Thompson and Carolina Tomasi.

Scenic Designer Kateri Pelton and team erected a functional set including the iconic balcony. The stage is uncluttered allowing the performers to move freely throughout the show. Chris Uelinger as the Projection Designer, used the screen on the back of the balcony to display shots of rooms, buildings of Buenos Aires and some abstract images to convey the periods of time as the show evolves through the years. Lighting Designer Brad Ranno is also effective in amplifying the optics.

Ensemble

Costume Designers Tricia Anderson and Tara Herbert (who are also the Makeup Designers) and Tommy Malek’s Wig Design lend authenticity to the production. The period costumes including military garb is realistic, and Eva’s gowns are particularly stunning.

The U.S. is at the precipice of electing its first ever woman president. Eva Perón was poised to be Argentina’s vice-president over 70 years ago but her illness and eventual death at the age of 33 prevented that occurrence. The production of Evita is both timely in noting the significance of how women must overcome the odds to rise up and is also vastly entertaining in its presentation. It should not be missed.

Running time. Two hours and 15 minutes with an intermission.

Evita plays on weekends through November 3 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

Electric ‘Superstar’ Rocks the Hippodrome

Paradoxically this month, while billions around the world are preparing to celebrate the birth of Jesus Christ, Baltimore’s Hippodrome Theatre is presenting a musical that delves into the last days of Christ’s physical time on Earth. The latest revival of the 1970 rock-opera Jesus Christ Superstar, with the stellar score by superstar-in-his-own-right Andrew Lloyd Webber and lyrics by Tim Rice, has rolled into town depicting Rice’s loosely interpreted events as related by the Gospels in the New Testament.

What has been billed as the 50^th Anniversary Tour of Jesus Christ Superstar, the production is more akin to a rock concert than the garden variety Broadway musical. Songs coming at you one right after the other in rapid-fire sequences; high voltage dance numbers abound; hand-held mic’s and mic stands are employed and sometimes double as props; high-tech lighting (designed by Lee Curran) bathe the stage from above as if the rays were emanating from Heaven; fog effects blend beautifully with the lighting; and performers playing musical instruments onstage—all packed in 90 minutes with no intermission to quell the momentum.  

The set designed by Tom Scutt features multi-level steel girders upstage with grid-like compartments on the second level where members of the orchestra are situated with some of the performers joining them from time to time. This change in eye level adds an effective dimension to the optics.  The major set piece is a large cross dominating the stage that is used as a runway among other purposes and, ultimately, the Crucifixion.  

Though the story line’s contours are derived from the Gospels’ account of Jesus’ last days from his arrival in Jerusalem to the Crucifixion, if you are among those not familiar with the New Testament, you could be at a disadvantage. There is nary a spoken word as this is a sung-through musical, and there is no narration other than the lyrics contained in the songs. Moreover, most of the principals are not readily identified and placed into context. The assumption is that the audience is knowledgeable of the story.

Jesus Christ Superstar with its well-known catalogue of songs is riveting entertainment. Originally, the songs were part of a rock-opera concept album before it migrated to a stage production. Rock, folk and gospel themes reflect the 1970’s era with the lyrics containing modern colloquialisms and other modern references. Among the more popular songs are “I Don’t Know How To Love Him,” “Superstar,” and my personal favorite “Gethsemane.”

Mary (Jenna Rubah) comforts Jesus (Aaron LaVigne)

The show focuses on emotional relationships and conflicts that touch on such themes as power, greed, celebrity and betrayal as seen through the eyes of Judas  (played stirringly by James Delisco Beeks), one of Jesus’ twelve apostles.

His concern is that Jesus, the King of the Jews (played by Aaron LaVigne), is moving in a direction that will offend the Romans that could bring wrath upon the Jews. In the end, Judas betrays Jesus and terminates his own life. #hocoarts

Mr. Beeks performs the role zestfully especially in such numbers as “Heaven On Their Minds,” “Damned For All Time/ Blood Money” and “Judas’s Death.” 

In the title role sexy Aaron LaVigne with his lithe physique is onstage throughout much of the production dealing with his apostles, his relationships with Judas and Mary, and the conflicts with the high priests and their followers as well as the conflicts within himself as to whether he should be an inspirational leader or martyr. God was to make that decision for him.

Mr. LaVigne performs many challenging songs and experienced a couple of rough patches early on the evening this performance was reviewed. But his vocals rebounded and improved markedly as the show progressed. His rendition of the moving, gut-wrenching solo “Gethsemane” is one of the show’s highlights as Jesus comes to grips with his ultimate demise.

He excels during the number “Trial By Pilate/39 Lashes” as Jesus receives the punishment following his famous trial. In a shocking display, each of the 39 lashes is accompanied by glitter where some of that adheres to his already bloodied body. He winces and recoils and convulses from each of the lashes. It is quite a spectacle.  Mr. LaVigne’s overall performance is stellar.

Jesus Christ Superstar with its well-known catalogue of songs is riveting entertainment.

As Mary Magdalene, the prostitute who provides comfort to Jesus and develops a love interest for him, Jenna Ruball is spot-on. Her soulful, sweet voice is evident in “I Don’t Know How To Love Him,” another of Superstar’s iconic songs.

Alvin Crawford plays Caiaphas, a high priest, who along with others, sought to persecute Jesus. His bass vocals are excellent and notable in the sinister “This Jesus Must Die” and in the group number “The Arrest” where he is joined by another high priest Annas, played well by Tyce Green.

Tommy Sherlock portrays Pilate, the Roman governor of Judea who dreams of Jesus’ crucifixion only for it to actually happen. He excels in the song “Pilate’s Dream” and the production number “Pilate and Christ.”

Simon, one of the hawkish apostles, is played by Eric A. Lewis. His number is “Simon Zealotes/Poor Jerusalem” and demonstrates strong vocals.

James Delisco Beeks as Judas

Also possessing a solid singing voice is Tommy McDowell as Peter, another disciple who denies Jesus three times at the time of Jesus’ arrest to save himself. He performs in “The Arrest,” “Peter’s Denial” and in the duet with Ms. Ruball in “Could We Start Again, Please.”

Then there’s King Herod, King of Galilee, played by Paul Lewis Lessard, who had a role during the trial. Decked out in flamboyant garb co-designed by Keith Caggiano and Nick Lidster that I can visualize Liberace and Elton John fighting over, Mr. Lewis performs well in the aptly named “Herod’s Song.”

The remainder of the company under the direction of award-winning Timothy Sheader and choreographer Drew McOnie, also an award recipient, as well as Musical Director Shawn Gough, is exceptional in voice and through their up-tempo precise dancing.

With such a compact production and without dramatic dialogue, there is insufficient opportunity to provide a more in-depth look into the relationships among the principals. And, as most people are aware, this is not a feel-good story in any shape or form.

Yet, the music, staging, the talented performers, electric atmosphere and the technical effects at the Hippodrome make this a fundamentally enjoyable experience and a timely Christmas present. But hurry, the show’s tour stop in Baltimore ends on December 22, 2019 A.D.

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Running time. One hour and 30 minutes with no intermission.

Jesus Christ Superstar runs through December 22 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, visit Ticketmaster.com, BaltimoreHippodrome.com, call 800-982-ARTS, or visit the Hippodrome Box Office located at 12 N Eutaw St, Baltimore, MD 21201.

Photos: Matthew Murphy

The Power of the Music of the Night

CCTA Delights with ‘The Music of Andrew Lloyd Webber’

Aficionados of musical theatre and even those who are not are well acquainted with the body of work by Sir Andrew Lloyd Webber would have been appreciative of this presentation. The English composer, who had collaborated with several lyricists like Tim Rice throughout his career, has been wildly successful in this genre spanning five decades with a string of some 13 musicals and 2 film scores among his accomplishments.  Several shows have run for over 10 years—a remarkable feat whether on Broadway or London’s West End.

“The Music of the Night” and “All I Ask of You” from The Phantom of the Opera, “I Don’t Know How to Love Him” from Jesus Christ Superstar, “Don’t Cry for Me Argentina” from Evita, and “Memory” from Cats are popular hit songs that have been cemented in our musical culture.  #hocoarts

On June 9, the Columbia (Md.) Center for Theatrical Arts (CCTA) and The Young Columbians Senior Ensemble & Alumni presented a magnificent offering of Lloyd Webber’s works including those and other favorites from the composer’s vast catalogue at the Smith Theatre at Howard Community College.  The Music of Andrew Lloyd Webber, performed by mostly middle and high school students, was a wonder to behold.

CCTA founder Toby Orenstein, the artistic director of Columbia’s venerable Toby’s Dinner Theatre, made brief remarks before the show in which she pointed out that the mostly student performers also included CCTA staff and alumni.  She singled out a student from her very first class, Larry Friedman, who is currently the Young Columbians’ artistic director and with Ms. Orenstein co-directed this show.

From the rocking number “Superstar” from Jesus Christ Superstar in which Mr. Friedman took the lead, to the finale “Love Changes Everything” from Aspects of Love, the performances by these artists were scintillating. The selections consisting of a combination of solos, duets and group numbers were generally organized by show.  

It was fitting that “Superstar” launched the presentation not only because the invigorating high tempo of the song and the cast’s journey up the theater’s aisles induced the audience to be involved immediately, but I have no doubt there are potential superstars among this group of entertainers.

Guided by choreographer Tina Desimone, the ensemble remained on the stage throughout each song utilizing methodical movements and a variety of positions from standing to lying down while featured performers emerged downstage to sing.  In some instances the positioning of the ensemble simulated that of the Broadway version of the numbers.

A duet consisting of Kyra Britt and Abby McDonough beautifully performed “I Don’t Know How to Love Him” from Jesus Christ Superstar.  During the rendition Ms. McDonough experienced a mic snafu. Undaunted, the young lady kept her poise, recognized the situation and increased the volume of her vocals to help compensate. Both performers deserve kudos for seamlessly overcoming a technical problem outside of their control. 

Prince Havely, an alumnus of the program, performed a stunningly moving interpretation of “The Music of the Night” from The Phantom of the Opera while the Ensemble silently stood motionless in the background.

All the other lead performers were outstanding as well. The talented list includes: Bradley Leverett and Ben Saunders (“Song of the King”) and Justin Diaz, Richard Seipel and Gavin Willard (“Close Every Door”) from Joseph and the Amazing Technicolor Dreamcoat; Cade MacFee (Light at the End of the Tunnel”/”Starlight Express” from Starlight Express); Andrew Fleming, Evan Williams and Justin Diaz (“Oh What a Circus”) and Alyssa Young and Sophie Snider (“Another Suitcase”) and Caroline Otchet and Logan Dixon (“Don’t Cry For Me Argentina”) from Evita; Rachel Kohen (“Memory”) from Cats; Avery Fahey (“Anything But Lonely”) from Aspects of Love; Peyton Kern and Andrew Fleming (“Think of Me”) and Bradley Everett, Leah Reineck, Cade MacFee and Shira Seaman (“All I Ask of You”) from The Phantom of the Opera; and Gavin Willard and Ben Saunders (“Love Changes Everything”) from Aspects of Love.

The Ensemble deftly performed vocally in support of the leads and had their own selections in the group numbers “Evita Requiem” from Evita, “Jellicle Ball” from Cats, and “Masquerade” from The Phantom of the Opera.

They are: Julia Chapman, Amaya Cunningham, Ana Cunningham, Madeline Ellinghaus, Hallie Goldstein, Ally Kolp, Andrew Pavuk, Alyssa Renew, Drew Seipel, Sierra Segal, Kate Tourison, Ava Vanek, and Carly Victor.

Musical Director Todd Twining and the 5-piece orchestra were superb and did justice to Lloyd Weber’s rich and melodious score.  The production itself was stellar, but seeing how the hard work of these young people led to a successful show with tons of potential to be realized is truly inspiring.

There are two flaws I can identify, however. One, the performance was only for one night and the broader community will not have a chance to witness this terrific show. And two, Sir Andrew Lloyd Webber wasn’t on hand to marvel how his work was performed in such a superb manner. #hocoarts

Ironically, this presentation took place on the same night as the 2019 Tony Awards (yay DVR!) It would not be a stretch to imagine at least one of these young performers receiving that honor someday.

CCTA is a non-profit organization founded in 1972 by Toby Orenstein. Its mission is to educate through the arts by creating theatrical experiences that inspire thought, action, creativity, and change. This performance was a fundraiser for CCTA’s outreach programs aimed at helping special needs and at-risk youth.  More information can be found on CCTA’s website.

'The Phantom of the Opera' Delights at the Hippodrome

On the heels of the largest snowstorm in Baltimore history, the most financially successful musical in history (approaching gross income of $1 billion on Broadway alone) has come to Charm City to warm the souls of theatre patrons with a brilliant, dynamic, tech-laden production of Phantom of the Opera.  The modified and re-sized revival from previous national tours, Cameron Mackintosh’s production of Andrew Lloyd Webber’s masterpiece at the Hippodrome Theatre remains largely faithful to the record-breaking original that had just celebrated its 28^th anniversary on Broadway and still counting. #hocoarts

Katie Travis as Christine and Chris Mann as The Phantom 
Photo: Matthew Murphy

The Phantom of the Opera, which had opened on London’s West End 30 years ago, featuring the incomparable award-winning Michael Crawford in the title role, was scored by Lloyd Webber with lyrics by Charles Hart and additional lyrics by Richard Stilgoe.

Laurence Connor deftly directs this touring production that includes 52 cast members and orchestra.  Pyrotechnical effects abound, amplifying the drama that unfolds. 

Paul Brown’s exquisite set design that includes the signature rising and crashing crystal chandelier allows for smooth transitions employing a turntable on the stage as well as dropdown scenery for a wide range of settings.  Among them are: the opera house stage, the manager’s office, the underground labyrinth, the Phantom’s lair, the grand ballroom and a graveyard.  

Paule Constable’s effective lighting creates the right atmospheric moods and furthers the dramatic sequences as does Mick Potter’s sound design, which is especially effective during off-stage dialogue from The Phantom.  

Costume Designer Maria Björnson brings 19^th century French attire to the company with a wide range of dazzling costumes.

The love story-thriller is best known for its memorable songs, such as the rousing title number “The Phantom of the Opera,” the gorgeous and a personal favorite “The Music of the Night,” the tender ballad “All I Ask of You,” and the romantic “Wishing You Were Somehow Here.”

Under the musical supervision of John Rigby, Dale Rieling directed Lloyd Webber’s splendid melodic score with excellent balance and proper restraint so that the vocals can rise above the background.

Based on the classic novel Le Fantôme de L’Opéra by Gaston Leroux, Phantom’s familiar story that binds the glorious music together centers on a disfigured musical genius (The Phantom of the Opera played by Chris Mann) who lurks in the tunnels below the Paris Opera House in the late 19^th century.  He is completely obsessed with a young innocent soprano Christine Daaé (Katie Travis) whom he had taught.  

Through the use of threats, terror and even murder, he insists that the ingénue receive lead roles in current and future opera offerings.  All the while, a former childhood friend of Christine, Raoul, the Vicomte de Chagny (Storm Lineberger), falls in love with Christine as she does with him.  However, Christine is torn between her love for Raoul and her gratitude towards the Phantom for his teaching her to sing so beautifully.  This leads to the famously heart-pounding conclusion.

As The Phantom, Chris Mann, a finalist in TV’s The Voice in 2012, is up to the task.  His acting and movements on stage are solid, and Mr. Mann’s performances of such numbers as “Music of the Night” and the reprise of “All I Ask of You” are delivered with flair and passion while showcasing his strong tenor voice.

Katie Davis as Christine also acts proficiently, and her sweet soprano vocals shine throughout.  “Wishing You Were Somehow Here Again” and her performances in “The Music of the Night” are notable.  In the latter, Ms. Davis ably hits the highest register.

As Raoul, Storm Lineberger adeptly demonstrates his desire for Christine with his acting prowess and through song. In duets with Ms. Davis, “Why Have You Brought Me Here?/Raoul, I’ve Been There” and “All I Ask of You,” Mr. Lineberger performs well.

Jacquelynne Fontaine, as the diva Carlotta whom Christine replaced in the opera, David Benoit as Monsieur Firmin, Edward Staudenmayer as Monsieur Andre, managers of the Paris Opera House, and Morgan Cowling as Christine’s friend Meg also turn in good performances.

The entire company is excellent and energetic.  Under the choreography of Scott Ambler, the ensemble’s performance of “Masquerade/Why So Silent” is a standout.

Phantom’s visit to Baltimore is a welcome one in which great music, staging and performances do justice to the classic original that will play on with no end in sight.  The production at the Hippodrome is highly recommended for all audiences.

Running time: Two hours and 30 minutes with an intermission.

Phantom of the Opera runs through February 7 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or click here ticketmaster.com or click here for Hippodrome information.