Review of 'Evita' at A Contemporary Theatre in Ridgefield

Pictured above: The cast of EVITA Photo by Jeff Butchen

Ridgefield, CT - ACT of Connecticut is the acronym for A Contemporary Theatre of Connecticut, a state-of-the art venue located in the heart of Ridgefield. This new regional Equity theater has renovated and reinvigorated the famous Schlumberger property in an effort to further expand the community as an arts destination. Ridgefield already is the home of the world renowned Aldrich Museum, The Prospector Theater and The Ridgefield Playhouse and Theatre Barn. I recently visited the Ridgefield Theatre Barn for the first time and therefore recognized some of the streets I traveled upon for a matinee at another new venue for me.

Founded by accomplished theater professionals, ACT presents limited engagement runs of well-known Broadway plays and musicals, as well as world premiere plays and musicals by the next generation of writers and composers. The theater company produces four shows per year on its beautiful main stage, with each show including Broadway professionals and local professional actors and actresses.

EVITA tells the supremely musical story of Eva Perón and her ascent to the top as the First Lady of Argentina; the size of this brand new venue allows the audience to be completely immersed into the story of Andrew Lloyd Webber and Tim Rice's masterpiece. ACT of Connecticut has produced this large-scale professional Equity musical production in their relatively intimate environment equipped with cutting edge technological and comfortable audience seats complete with a cup holder. The stage is even fitted with a rotating section that was judiciously utilized in this production.

The show was directed by Artistic Director Daniel C. Levine with sublime choreography by Charlie Sutton. All of the previous EVITA productions I have reviewed have had casts of thirty or more, but ACT has whittled the cast down to half that many actors. “If we could cast the right ‘storytellers,’ this show could be as effective with 16 actors as it is with 35,” writes Mr. Levine in his director’s note. “And did we luck out!” This diverse cast is heavily composed of talented Latinos and Latinas who worked together perfectly.

The director admits that he chose not to put his personal stamp on a show that he considers to be “pretty perfect as is.” Nevertheless, the visual pictures created by the director with the help of the lighting design by scenic designer Jack Mehler will stay with me for a long time. From the long “Requiem for Evita” that opened the first act to the final “Montage,” every scene was vocally and visually memorable.

Equity member Julia Estrada (WEST SIDE STORY at CT Repertory Theatre) starred as Eva Perón. Her beautiful singing voice was on display for all of her solos and her acting ability helped her to navigate well the rise and fall of the driven actress turned First Lady. Wig designer Liz Printz provided flattering hairstyles for all of Evita’s levels of society.

I knew immediately that I had seen the curls of Angel Lozada somewhere, and it turned out to be on NBC’s LIVE production of Jesus Christ Superstar. His take on Che was not quite as angry as I remember, but his voice soared in every one of his musical numbers.

Equity member Ryan K. Bailer (LES MISERABLES tour) performed very well as Perón. Julian Alvarez, another Equity actor, probably sang too well for the lounge singer Magaldi, but he definitely had the heart-throb look, and Marlena Lopez-Hilderley, in her regional theatre debut, sang beautifully on her one number as the mistress of Perón kicked out by Evita. Every weekend there is a new group of local young performers that make up the “Children of Argentina” ensemble; the opening weekend group did well dressed in their school uniforms.

Ensemble members were Alex Caldwell, Morgan Harrison, Jordan Fife Hunt, Alison Mahoney, Daniel Marhelko, Monica Ramirez, Erick Sanchez-Canahaute (Bobby in COMPANY at TBTA, Ren in FOOTLOOSE at MAR) , Mia Scarpa (THE TAFFETAS at Seven Angels,) Daniel Schwait, and Kyle White. I immediately recognized ensemble member Paul Aguirre from his role in JESUS CHRIST SUPERSTAR at Seven Angel (for which I hold the top reviewer’s quote on the actor’s website) and was once again impressed with his dancing skills.

Costumes designed by Brenda Phelps were provided by Western CT State University, The Warner Theatre’s costume shop and DB Productions. I recognized a few of the pieces from WCSU; on the whole Eva’s wardrobe was lovely, if slightly understated. The set design by Mr. Mehler changed often and efficiently and they suggested the locations effectively along with the stunning lighting. The lighting that matched the flags for Evita’s European tour was a nice touch.

Unfortunately, there were some definite sound issues in what was otherwise a technically wonderful production. It appeared that Evita’s solo on the iconic "Don't Cry for Me Argentina" was supposed to sound like she was singing on a public address system, but it came off as a sound mishap. The “Requiem” was crushingly loud for the back of the house and some of the other numbers felt like the singers were competing with the orchestra for control. The musical direction by Evan Roider, who also served as conductor and played keyboard one, was masterful. The nine other members of the orchestra made the score sound its best.

EVITA has been extended through November 11, 2018. Ticket available at actofct.org

Nancy Sasso Janis has been writing theatre reviews since 2012 as a way to support local theatre venues. She posts reviews of well over 100 productions each year. In 2016, she became a member of the Connecticut Critics Circle.She continues to contribute theatre news, previews, and audition notices to local Patch sites. Reviews of all levels of theatrical productions are posted on Naugatuck Patch and the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and on Twitter @nancysjanis417. Check out the NEW CCC Facebook page.