ALT scores huge hit with ‘ Evita’

With little more than scaffolding, windows, ban­ners, curtains and superb acting and musical talents, Ardmore Little Theatre brings to life possibly its most ambitious musical ever to grace the Goddard Center stage.

“Evita” opened Thursday night in Ardmore and ALT offers a mix of both new and familiar faces, all of whom tackle this grandiose musi­cal with flair and enthusi­asm, backed by an equally talented orchestra directed by Andy Price.

This Tim Rice/Andrew Lloyd Webber musical regaling the life and death of Eva Duarte de Peron contains musical numbers so complex and difficult, it’s rarely — if ever — at­tempted at the community­theater level.

But director Courtney Di-Bello has assembled a cast so talented that “Evita” will be an unforgettable experi­ence for actors and audience members alike for years to come.

In the title role, Lesley Dvorak, a familiar face and voice on the ALT stage, is masterful as Eva. Dvorak moves Eva seamlessly through her early days as an ambitious young peasant who chooses the right lovers to propel her up the ladder to fortune and fame, to her position as Argentina’s most well-known female political figure and beloved wife of Argentinian president Juan Peron.

Dvorak portrays Eva as a sultry and self-assured beauty who gains favor with the masses by reminding them she started out as one of them. Eva serves as the voice of the people even as she drinks in the benefits and amenities afforded to the upper class.

Her musical skills are a perfect fit in this challeng­ing role, putting her beauti­ful voice through a carnival of arrangements that might seem daunting to an actress of lesser talents.

The same holds true for her theatrical lover/hus­band, veteran ALT actor Joel Wellnitz, who brings a commanding, bold presence to the stage as Peron.

Peron takes a sympathet­ic turn under Wellnitz’ hand even as he shows his own ambitious chops in assassi­nating his rivals to advance in the ranks to power.

Wellnitz and Dvorak make as endearing a pair as they once did as King Arthur and Guinevere in “Camelot” several years ago. But much of the spot­light is reserved for — and rightly given to — Corey King as Ché.

Back for his third role in an Ardmore Little Theatre musical, King provides the audience with an outsiders’ viewpoint as the narrator and observer. The role gives him plenty of opportunity to flex his acting and signing chops, taking that same vo­cal carnival ride as Wellnitz and Dvorak.

He is delightfully ani­mated, both physically and musically, and gives the audience an entertaining diversion through the politi­cal and relational history lesson. He commands atten­tion whenever he’s on stage and gives the audience a not-so-positive view of Eva’s intentions.

Steve Brandbenburg is deliciously charming as the tango singer Augustin Magaldi, eliciting screams from his admirers that would make Elvis envious.

Magaldi is Eva’s first love affair and she uses him to get to Buenos Aires before dumping him for other pow­erful figures on her way to becoming a famous actress.

Besides the lead charac­ters, several roles in “Evita” offer actors the chance to shine in the spotlight. Like Alison Hake as Peron’s mis­tress. Her clear, crisp voice rings out with emotion in the song “Another Suitcase in Another Hall,” giving audience members just an appetizer of her talents and leaving them hungry for more.

Luana Antuono also brings beauty and in­nocence to her role as the Peasant Child, and LaTonya N’Kere and Anna Flatt are given a moment to shine in solo parts during “What a Circus.”

Carl Clark, John Pryor, Russell Johnson, Randy Simmons and Brandenburg bring comedy to their roles as military men, and Lisa Cowan joins their musical forces in “Rainbow Tour,” detailing Eva’s famous 1946 European tour as a political figure.

As can be expected from a DiBello production, “Evita” contains plenty of high-energy choreography and zealous dance numbers presented by chorus mem­bers, who intermingle with the audience on several occasions, giving viewers a chance to feel what it must have been like as one of Eva’s throng of admirers.

Music director Susan Yeager draws from her singers some far-reaching prowess that will amaze any listener, no matter what their musical skill level. And Gina Quary provides plenty of impressive window dress­ing on the characters as the show’s costumer.

“Evita” is a must-see, though it helps if audience members have some histori­cal knowledge of the life and times of Eva Peron, since the show is almost entirely done in musical numbers that can be difficult to un­derstand if one is not paying attention.

The public has four more chances to see “Evita” before it becomes part of ALT’s history.

Cast members and crew are to be given the highest commendations for their efforts and successes in this difficult production.

Leah Simmons 221-6525