“Oh, what a circus, oh what a show!” thus goes the opening of Andrew Lloyd Webber and Tim Rice’s hit musical ‘popera’, “Evita”. Indeed, there couldn’t be a finer or more fitting way to describe the musical and One More Productions’ latest re-staging of it at the landmark “Gem Theater” in Garden Grove, California. Featuring music by Lloyd Webber and a book and lyrics by Rice, the Direction and Musical Direction is by OMP’s Co-founder, Damien Lorton. Likewise, the choreography (and boy, is there ever loads of it) comes courtesy of Angela Mattern, Erik Diaz, Edvan Galvan and Julia Iacopetti.

  As anyone familiar with the work of Webber and Rice will tell you, much of their productions are completely ‘sung through” with no (or very little) actual dialogue that doesn’t have musical notes attached to them. This too, is part of the novelty and brilliance of “Evita” as it can boast one terrific song flowing effortlessly into the next. Following their genre-defining success of “Jesus Christ Superstar” this musical began as another rock opera “concept album” released in 1976. Its initial success led to productions in London’s West End in 1978, (winning the Laurence Olivier Award for “Best Musical”,) before going on to Broadway a year later, where it was the first British musical ever to receive the Tony Award for “Best Musical”.  This has been followed by a string of professional tours and worldwide productions and numerous cast albums, as well as a 1996 film adaptation starring Madonna in the title role and Antonio Banderas as her narrator, “Che”.

Steeped in some of the very best songs of Webber and Rice from beginning to end, “Evita” relates the story of Argentina’s “High Flying, Adored” first lady and political leader Eva Perón (pronounced Ava) from 1946 until her death from cancer in July 1952. 

 The second wife of Argentine President Juan Perón, along the way, we’re introduced to Evita’s early life, rise to power, charity work, through on to her untimely death. All told in flashback, it commences in a plain, ordinary movie theater in Buenos Aires Argentina, as couples try to sit back and enjoy the picture. Suddenly, the film stops, and the house lights come up as a loudspeaker announces: “It is my sad duty to inform you that Eva Peron, spiritual leader of the nation, entered immortality at 8:25 this evening.” Immediately happiness turns to “howling hysterical sorrow” as the town takes to the streets to let their grief be expressed and shared as they join together for a requiem dirge honoring their beloved fallen first lady. In due time, a modestly dressed figure comes out of the crowd. He is “Che Guevara”—a man who later distinguished himself as a radical political activist, but now he’s just another voice among the grieving multitude who will serve as our narrator. 

Moreover, one of the  major strengths Lorton and company have lies in the way they’ve retained the historical ‘identity’ lyrics Che sing’s at the start of “Oh, What A Circus…” which basically ‘explain’ why the figure of Guevara was chosen to narrate this story when no there is no public record of the two ever meeting:  “And who am I who dares to keep his head held high while millions weep? Why the exception to the rule? Opportunist, traitor, fool–or just a man, who grew and saw, (from seventeen to twenty-four,) his country bled, crucified–She’s not the only one who’s died!” Later in Act Two Eva also refers to his destiny informing him in their one sweeping and surreal interlude they share—“The Waltz For Che And Eva” when she seethes: “Whip up your hate in some tottering state but not here dear—is that clear dear?!” Before long, “Che” conducts us back in time to the small Argentinian village of Hunin, where young starry-eyed “Eva Duarte” lives with her mother and siblings—while dreaming of greater things: “Now Eva Perón had every disadvantage you need if you’re gonna succeed…” he sings “No money, no class, no father, no bright lights–there was nowhere she’d been at the age of fifteen…” Act Two begins with the newly elected “President Juan Peron” upon their balcony of the presidential mansion—the “Casa Rosada”; there, he and his ‘first lady’, greet the adoring throng who continually shout the name of “Peron” before suddenly and subtly shifting their chant to “Evita”. This leads into her iconic “Don’t Cry For Me Argentina” which is every bit as awesome as any audience member present could hope for!  Easily one of the most recognized intermezzos from the already electrifying score, the title of this song was inspired by the epitaph on a plaque at Eva Perón’s grave in the “La Recoleta Cemetery” in Buenos Aires, when Eva’s mysteriously ‘missing body’ was at last found and interred in 1976. 

Given that the show benefits from the first-class achievements of four clever and capable Choreographers—each with their own style and area of terpsichorean expertise, you can bet audiences will be treated to a wide variety of fancy stepping and strutting. (This, by itself serves the production well seeing as that there is so much dancing and movement in it!) For instance—take Angela Mattern’s dynamic ‘take’ on “Buenos Aires” which is packed with so much raw kinetic energy and joyous emotion, if you could harness it, it could probably power the streetlights in old Garden Grove for six-months! Count this one THE highlight of the first act. Better yet, Lorton and his cadre of Dance Directors have interjected numerous phrases of some genuine ethnic ‘step dancing” amidst the big, buoyant “Rolling On” number which may just be the very best choreography in this entire show, (also featuring some nifty flickering lights at its climax!) Special observation should also be made regarding the boisterous “Rainbow High” in which the unsophisticated girl from Junín seemingly, magically, transforms into a glamourous fashion forward representative of her country. Shortly thereafter, “The Rainbow Tour” is also a full cast extravaganza, overflowing with ebullience and optimism as Che narrates Eva Peron’s very first diplomatic mission to Europe (to mixed results.) Nonetheless, the energy from the entire cast is (to put it mildly) nothing short of dazzling as they are astounding. Were that not enough, Lorton throws in a sly bit of political humor upon the close of “Don’t Cry For Me Argentina” when a sextet of stuffed-shirts and ‘aristocrats” take centerstage to supply some first-rate harmony. 

Most recently known for her ‘supporting’ roles there at “The Gem”, Giovanna Martinez at last ascends into the spotlight in the title role of the actress turned legend, Eva Peron—bringing to it a great sincerity and empathy. For her, this is a real person—not merely some figurehead who may just be a glamour addicted diva (as Eva arguably was.) Her first notes in Act One (the backing ‘recitative’ on the ride out of “On This Night…”) are ravishing, bestowing upon us a preliminary taste of her considerable vocal skills. (Think like a candy store for your ears!) Additionally, she proves to be more than up to any challenge both vocally and dramatically, essentially ‘humanizing’ her character as few have done before. Here Ms. Martinez bestows upon us a relatable girl from the streets, uneducated but determined, who worked to get where she eventually did. In the meantime, she dreams “I wanna be a part of B.A.–Buenos Aires, ‘Big Apple’ (She also gets to show off some eye-popping high kicks in this number, which also exhibits some astounding, frenetic “group” work here gratis Angela Mattern’s fancy-steppin’ choreography. Near the close of the show, Evita (supposedly in spirit form) addresses the audience directly with the epilogue titled “Eva’s Lament” and it’s here where Ms. Martinez really lets our Heroine’s vulnerability show. In fact, it too, could be considered among her finest interludes during which “Eva” explains her life decisions: “The choice was mine, and mine completely–I could have any prize that I desired: I could burn with the splendor of the brightest fire, or else, or else I could choose time…”

 As her husband and partner in politics and power, Edvan Galvan is Argentina’s President and would-be Potentate, “Juan Peron”. He brings a laudable credibility to his characterization in his own right, vastly enhanced with his immaculately spot-on Argentine accent and crisp, pristine delivery of all his lyrics. This leaves a lovely and lasting impression for his numbers starting with the shrewd—yet—restrained renditions he suffuses into Peron’s introductory number, “Art Of The Possible” (through which we learn of his background, as both a soldier and a would-be statesman.) Backed by a troupe of military guardsmen who are bathed in stark red light, they essentially play a round of “Musical Chairs” illustrating the transient nature of political power. (This is also where we catch our first glimpse of Eva—now as a full-fledged celebrity with the awesome wardrobe to prove it.) Galvan also shines late in Act Two with Peron’s wistful soliloquy: “She’s a diamond” as he finally comes to terms with the seriousness of Eva’s illness: “She’s lost a little of that ‘magic drive’–but I would not advise those critics present, to derive any satisfaction from her fading star–She’s the one who’s kept us where we are…”  Together, Mr. Galvan and Ms. Martinez exude great energy and charisma with the sultry “I’d Be Surprisingly Good For You” staged as a steamy, smoldering tango. (Count this one too as a major crowd pleaser.) 

Opening the show and shepherding most all of the action along is Aaron Gibbs as our narrator, (and future rabble rouser) “Che Guevara”. He also triumphs with his more reflective soliloquy through song, “High Flying, Adored” as he ponders the challenges of living a life of sudden fame such as “Eva” has–instantly ascending to as Argentina’s new “First Lady” (This could easily be Gibbs own personal best in this production.) Their “Waltz For Che And Eva”—the only point where they step out of the narrative to face each other, is a sultry cross between a traditional waltz and a torrid tango. Directly after, this duet evolves into a solo as ‘Che” exits into the shadows and our Eva sings the melancholy “You Must Love Me” which was actually written for the film adaptation for star “Madonna” before going on to win an Oscar for “Best Song” at that year’s Academy awards. Inserted here, it’s a lovely little interlude thanks in large part to Ms. Martinez’s poignant rendition of it. Jack Janowicz also does a thoroughly stand-up job as the self-centered (if, marginally talented) “Tango Singer” (and “The first man to be of use to Eva Duarte”,) Augustin Magaldi. Here he’s been fashioned into a kind of “Argentine” version of Elvis Presley or Ricky Nelson, bringing a very nice delivery (peppered with plenty of comedy and nuance) to his major melodic contribution, “On This Night Of A Thousand Stars”.  Rounding out the cast of featured players is Isadora Salekfard as “Peron’s Mistress” (—Evita’s predecessor in the bedchamber) who delivers one of the scores’ most highly regarded showtunes: the pensive and poignant, “Another Suitcase In Another Hall”.  Too often this is a number that gets overlooked or marginalized but no worries about that happening here—Ms. Salekfard leaves a lasting, if stoically affecting, impression long after she has exited the stage.

With much of the action taking place in the late 1940’s straight on through to the early 1950’s, this is neatly conveyed in the costumes which the cast wear throughout by ‘Costume Designer’ Luis Cornejo. He has most definitely conjured-up a plethora of period-accurate clothing to be paraded across the stage (Could that really be a bona-fide Kelly green vintage Coco Channel suit Evita wears in the second Act?) 

  Flower print dresses for women similarly seem to be in great abundance here; then again, this was a prevailing pattern for ladies everywhere in the days just after the Second World War. For men, there’s wide brim fedoras and somewhat oversized trousers and sport coats. Not that there isn’t also plenty of color sported by the more ‘common rabble’, yet the “Aristocrats” (who kind of keep to themselves in their own little clusters.) instead favor men and women’s ‘suits” mostly in drab browns and tans) Lighting Designer Jeremy Huff also has made the most of every opportunity to interject as much color into the brilliant and vibrant group interludes like “Stand Back Buenos Aires”,” Oh What A Circus”, “A New Argentina”, “And The Money Kept Rolling In…”  and of course, the aptly named “Rainbow High”.  At the other end of the color spectrum, he also shrewdly employs more than a few touches of dark, shadowy illumination such as he does with Eva’s Lament which concludes the show (almost like the story is being played out through the shady lens of long ago memories) Meanwhile Sound Designer Dan Baird keeps everything sounding as sharp and flawless as possible—particularly seeing that the seven piece band under the practiced leadership of Nick Bravo (who also contributes his skill at the Keyboard) may require a little sound amplification considering that they are all situated behind the scenes into the wings. Working in tandem, they have each created this intriguing world and the times in which our story is unfurled. Not to be overlooked either are Scenic Designers Oscar Garcia and Sarai Ortiz along with Hair and Wig Designer Alan Collins, who themselves work in seamless harmony with Make-up Designer Rocco Zappia—all to ensure the production maintains that critical feel of authenticity on the country (Argentina) and the post World War Two era—a time when Argentina, South America, the Western Hemisphere (and the entire world really) were all experience massive—and thrilling societal changes, evolutions, communal modifications.  “Will (this) ‘Evita’ shine through? And the answer is YES!” (So don’t miss it!) After two previews, “Evita” opened on Saturday, June 8^th, where it will play through July 14^th, 2024, at “The Gem Theatre”, located at 12852 Main Street, in Garden Grove, CA. Showtimes are Thursdays, Fridays & Saturdays at 8:00 PM, with Sunday Matinees at 2:00 PM. Special discounts are offered for Seniors (65+) and Kids (12 and under), while “Student Rush” tickets are also available for Thursday and Friday performances (one ticket per valid Student ID.) For more information or to purchase tickets, call One More Productions at (714) 741-9550, or visit their website at www.theGEMoc.com

Production Photos by Ron Lyon www.ronlyonphoto.com Courtesy of “One More Productions” www.theGEMoc.com ; Special Thanks to Damien Lorton, Nicole Cassesso, Dan Baird, Bobbie Stoval, Angela Mattern, Erik Diaz, Edvan Galvan, Julia Iacopetti,  Victor Crisafulli, Shoko Araki, Ron Lyon, and to the cast and crew of “One More Productions” 2024 Production of “Evita” for making this story possible.