November 9, 2002
Section: Lifestyles
Page: 1F
Naples Dinner Theatre's `Evita' stirs diners' souls
Drew Sterwald , Staff , News-Press
THEATER REVIEW
By DREW STERWALD dsterwald@news-press.com
"Evita" isn't exactly a made-for-dinner-theater kind of show. All that greed, lust, corruption, class conflict and political revolution could upset the tummies of patrons stuffed from the dessert buffet.
Well, the Naples Dinner Theatre proves, as Fort Myers' Broadway Palm did in 1995, that the Andrew Lloyd Webber-Tim Rice musical can work - indeed excel - in this environment.
Skillfully performed and directed, Naples' "Evita" stirs the mind and the heart.
The show grabs the audience from the first scene, in which Argentinians learn of the untimely death of their sanctified and vilified first lady, Eva Peron. The ensemble of 16 rises, their voices soaring, their movements expressing passion. A viewer can't helped but be stirred by the grand scale of it all.
There are many such moments in this production, thanks to Jeremy Randall's strong musical direction and Chrissy Wright's energetic choreography. Their efforts, combined with Michael Wainstein's brisk direction, keep this epic musical steamrolling toward its conclusion just two hours (including intermission) after the curtain rises.
Jessica Edwards fits the title role superbly, combining imperiousness and notes of vulnerability with her considerable vocal power and range. (Anna Bergman performs the role at matinees.) Some of the lyrics here are challenging to sing, but Edwards' phrasing and dynamic control help her breeze through them.
She meets her match in Steven Lane, stunning as Che, the revolutionary figure who narrates Evita's rise and fall. Lane sings with impressive clarity and confidence in a physically and vocally demanding role (and despite the theater's sometimes tinny amplification).
The role of Peron isn't as dramatic as Evita and Che, but James Ballard gives the military leader commanding presence.
Also worth mentioning is the set design by Tim Baumgartner. Although "Evita" traditionally does not rely on elaborate props and backdrops, this production makes good use of scaffolding and a turntable to change perspectives in several scenes.
IF YOU GO
WHAT: The musical "Evita"
WHERE: Naples Dinner Theatre, 1025 Piper Blvd., Naples.
WHEN: Performances are Tuesday-Saturday through Sunday, Dec. 15, with dinner starting at 5:30 and the show at 8 p.m. matinees are Wednesday and Sunday with lunch at 11:30 and the show at 1:30.
TICKETS: $37.50-$45
INFORMATION: Call (239) 514-7827.
DAILY NEWS REVIEW
Review: Evita has its moments, but not as electrifying as the woman it portrays
Tuesday, November 12, 2002
By NANCY STETSON, nrstetson@naplesnews.com
"She had her moments/She had some style," sings Che (Steven Lane) in "Evita," which opened at the Naples Dinner Theatre Thursday night.
The same could be said for this current production.
It has its outstanding moments and, at times, a nice style and look. But unfortunately they're not consistent.
That's not to say this isn't an interesting show or not worth seeing. The musical does have some fabulous songs (as well as some pointed insights about relationships of convenience and buying affection).
But something seemed to be missing opening night — a certain edge, a zest.
A musical about a woman who was larger than life should be — well, larger than life.
"Please go on, you enthrall me," Juan Peron says to Eva when they meet. But for most of Act I, Eva —or Evita, as she was affectionately known by the people of Argentina— failed to enthrall me; I was willing to be seduced by the actors, by the show, but it didn't happen.
There was no chemistry between Peron and Evita; perhaps the relationship was merely two powerful people using each other to gain more power and prestige.
But Jessica Edwards, who plays Evita in the evening performances, won me over with her rendition of "Don't Cry For Me Argentina" in Act II.
Edwards makes it her own, which is very difficult to do with such an overly familiar song.
Dressed in a white strapless gown with a full, sweeping skirt, she looks as sumptuous and sweet as a wedding cake, but she nails the song and delivers the lyrics with conviction.
James Ballard, portraying Peron, is stern, dictatorial. He's enamored with his wife but oddly businesslike with her, more bemused than in love. His stage presence is strong, and Edwards at times doesn't seem to match the strength of his character. She does have an appealing voice, but at times I wondered how Anna Bergman, who portrays Evita during matinees, performs the role. (The word is that Bergman is more of a belter.)
Lane, as Che, seems to have the lion's share of time on stage as a narrator/participant, commenting on the action and giving background information to the audience.
His lovely tenor voice is at its best in songs such as "High Flying, Adored."
But he seems too nice and doesn't look rough enough or threatening.
And that's a problem that runs throughout this production — everyone looks so clean-cut and young. It's as though the average age of Argentina is 24.
The choreography by Chrissy Wright is outstanding, and her tango with Seth Kinney is first rate. But in other numbers, although the dancers perform the steps, they seem to miss the heart of the dance, lacking snap and attitude.
Complaints aside, there are many lovely moments in "Evita."
The audience seemed to perk up every time the men in the ensemble had a number, whether as soldiers or as servants/dressers waiting on Evita.
The band, directed by Jeremy Randall, is excellent.
And the revolving red door scene that unceremoniously spits out a constant stream of men from Evita's home as she sleeps her way through Buenos Aires ("Goodnight and Thank You") is funny and telling.
Tim Roberts is on-target as a sleazy nightclub singer performing "On This Night of a Thousand Stars."
And especially of note is Melanie Smock's rendition of "Another Suitcase." Thrown out of Peron's bed by Evita, who coldly replaces her, Smock sings: "Another suitcase in another hall/...So what happens now?/Where am I going to?"
It's a poignant and moving moment that captures the heart of the audience.
"Evita" is a challenging musical for performers. It's not as complex as Sondheim, but still, this musical by Andrew Lloyd Webber and Tim Rice has difficult songs with unusual and changing meters.
Perhaps the actors will grow more confident with their roles and portray their characters with more force and sizzle, making "Evita" as electrifying as the woman herself
Section: Lifestyles
Page: 1F
Naples Dinner Theatre's `Evita' stirs diners' souls
Drew Sterwald , Staff , News-Press
THEATER REVIEW
By DREW STERWALD dsterwald@news-press.com
"Evita" isn't exactly a made-for-dinner-theater kind of show. All that greed, lust, corruption, class conflict and political revolution could upset the tummies of patrons stuffed from the dessert buffet.
Well, the Naples Dinner Theatre proves, as Fort Myers' Broadway Palm did in 1995, that the Andrew Lloyd Webber-Tim Rice musical can work - indeed excel - in this environment.
Skillfully performed and directed, Naples' "Evita" stirs the mind and the heart.
The show grabs the audience from the first scene, in which Argentinians learn of the untimely death of their sanctified and vilified first lady, Eva Peron. The ensemble of 16 rises, their voices soaring, their movements expressing passion. A viewer can't helped but be stirred by the grand scale of it all.
There are many such moments in this production, thanks to Jeremy Randall's strong musical direction and Chrissy Wright's energetic choreography. Their efforts, combined with Michael Wainstein's brisk direction, keep this epic musical steamrolling toward its conclusion just two hours (including intermission) after the curtain rises.
Jessica Edwards fits the title role superbly, combining imperiousness and notes of vulnerability with her considerable vocal power and range. (Anna Bergman performs the role at matinees.) Some of the lyrics here are challenging to sing, but Edwards' phrasing and dynamic control help her breeze through them.
She meets her match in Steven Lane, stunning as Che, the revolutionary figure who narrates Evita's rise and fall. Lane sings with impressive clarity and confidence in a physically and vocally demanding role (and despite the theater's sometimes tinny amplification).
The role of Peron isn't as dramatic as Evita and Che, but James Ballard gives the military leader commanding presence.
Also worth mentioning is the set design by Tim Baumgartner. Although "Evita" traditionally does not rely on elaborate props and backdrops, this production makes good use of scaffolding and a turntable to change perspectives in several scenes.
IF YOU GO
WHAT: The musical "Evita"
WHERE: Naples Dinner Theatre, 1025 Piper Blvd., Naples.
WHEN: Performances are Tuesday-Saturday through Sunday, Dec. 15, with dinner starting at 5:30 and the show at 8 p.m. matinees are Wednesday and Sunday with lunch at 11:30 and the show at 1:30.
TICKETS: $37.50-$45
INFORMATION: Call (239) 514-7827.
DAILY NEWS REVIEW
Review: Evita has its moments, but not as electrifying as the woman it portrays
Tuesday, November 12, 2002
By NANCY STETSON, nrstetson@naplesnews.com
"She had her moments/She had some style," sings Che (Steven Lane) in "Evita," which opened at the Naples Dinner Theatre Thursday night.
The same could be said for this current production.
It has its outstanding moments and, at times, a nice style and look. But unfortunately they're not consistent.
That's not to say this isn't an interesting show or not worth seeing. The musical does have some fabulous songs (as well as some pointed insights about relationships of convenience and buying affection).
But something seemed to be missing opening night — a certain edge, a zest.
A musical about a woman who was larger than life should be — well, larger than life.
"Please go on, you enthrall me," Juan Peron says to Eva when they meet. But for most of Act I, Eva —or Evita, as she was affectionately known by the people of Argentina— failed to enthrall me; I was willing to be seduced by the actors, by the show, but it didn't happen.
There was no chemistry between Peron and Evita; perhaps the relationship was merely two powerful people using each other to gain more power and prestige.
But Jessica Edwards, who plays Evita in the evening performances, won me over with her rendition of "Don't Cry For Me Argentina" in Act II.
Edwards makes it her own, which is very difficult to do with such an overly familiar song.
Dressed in a white strapless gown with a full, sweeping skirt, she looks as sumptuous and sweet as a wedding cake, but she nails the song and delivers the lyrics with conviction.
James Ballard, portraying Peron, is stern, dictatorial. He's enamored with his wife but oddly businesslike with her, more bemused than in love. His stage presence is strong, and Edwards at times doesn't seem to match the strength of his character. She does have an appealing voice, but at times I wondered how Anna Bergman, who portrays Evita during matinees, performs the role. (The word is that Bergman is more of a belter.)
Lane, as Che, seems to have the lion's share of time on stage as a narrator/participant, commenting on the action and giving background information to the audience.
His lovely tenor voice is at its best in songs such as "High Flying, Adored."
But he seems too nice and doesn't look rough enough or threatening.
And that's a problem that runs throughout this production — everyone looks so clean-cut and young. It's as though the average age of Argentina is 24.
The choreography by Chrissy Wright is outstanding, and her tango with Seth Kinney is first rate. But in other numbers, although the dancers perform the steps, they seem to miss the heart of the dance, lacking snap and attitude.
Complaints aside, there are many lovely moments in "Evita."
The audience seemed to perk up every time the men in the ensemble had a number, whether as soldiers or as servants/dressers waiting on Evita.
The band, directed by Jeremy Randall, is excellent.
And the revolving red door scene that unceremoniously spits out a constant stream of men from Evita's home as she sleeps her way through Buenos Aires ("Goodnight and Thank You") is funny and telling.
Tim Roberts is on-target as a sleazy nightclub singer performing "On This Night of a Thousand Stars."
And especially of note is Melanie Smock's rendition of "Another Suitcase." Thrown out of Peron's bed by Evita, who coldly replaces her, Smock sings: "Another suitcase in another hall/...So what happens now?/Where am I going to?"
It's a poignant and moving moment that captures the heart of the audience.
"Evita" is a challenging musical for performers. It's not as complex as Sondheim, but still, this musical by Andrew Lloyd Webber and Tim Rice has difficult songs with unusual and changing meters.
Perhaps the actors will grow more confident with their roles and portray their characters with more force and sizzle, making "Evita" as electrifying as the woman herself