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EVITA BROADWAY REVIEWS
Opening Night: April 5, 2012
Synopsis: Eva Perón used her beauty and charisma to rise meteorically from the slums of Argentina to the presidential mansion as First Lady. She won international acclaim and adoration from her own people as a champion of the poor, while glamour, power and greed made her the world's first major political celebrity. Evita tells Eva's passionate and tragic story through Tim Rice and Andrew Lloyd Webber's most dazzling and beloved score, which includes "Don't Cry for Me Argentina," "Another Suitcase in Another Hall" and "High Flying Adored," together with "You Must Love Me," the Oscar-winning hit from the film Evita.
NEW YORK TIMES REVIEW:
"This just in: Eva Perón is still dead. Anyone questioning the veracity of this assertion need only visit the Marquis Theater, where a lavish, worshipful wake is being held for Mrs. Perón (1919-52), the onetime first lady of Argentina. Michael Grandage’s revival of Andrew Lloyd Webber and Tim Rice’s “Evita,” which opened on Thursday night, is from beginning to end so stately and sober-sided that you may feel out of place if you’re not wearing your best black."
"Andrew Lloyd Webber gets a lot of abuse, and deserves most of it—but not for "Evita," which is so much better than "Jesus Christ Superstar" that you wonder how both scores could have been composed by the same man. Whatever its deficiencies as history, "Evita" is a formidable piece of theater, and Michael Grandage's revival, which has now transferred to Broadway after a long run on London's West End, makes a wholly persuasive case for the 1978 musical in which Tim Rice and Baron Lloyd-Webber (as he is now officially styled) told how an Argentine actress-tart found happiness by bedding and wedding an up-and-coming caudillo."
"Director Michael Grandage scores with a dynamic new "Evita," graced by an impressive performance from Argentinean actress Elena Roger and the ticket-selling presence of recording star Ricky Martin, who acquits himself nicely if not remarkably. The 1979 Andrew Lloyd Webber-Tim Rice poperetta comes off fairly well in its first Broadway revival, thanks to a director who doesn't seem crimped or intimidated by Hal Prince's striking original staging. That said, the flaws inherent in the material -- typified by grasping-at-straws rhymes like "That's what they call me/so Lauren Bacall me" -- remain. Look for boffo biz so long as Martin chooses to stay."
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