You let down your people, Evita. You were supposed to have been immortal. That’s all we wanted – not much to ask for. Ok, maybe quoting Che Guevara’s sardonic funeral oration for Argentina’s first lady is a bit misdirected. To my mind Evita is immortal – but that’s in large part thanks to Hal Prince’s seminal production of a generation ago,  not to mention the star-making performances of Patti Lupone and Mandy Patinkin. (Yes, I age myself – at this point it’s unavoidable.) The question remains: is it Tim Rice and Andrew Lloyd Webber’s Evita that we should cry for in its first ever Broadway revival or is it director Michael Grandage’s shambolic production? Does the fault lie with Elena Roger, the tiny-voiced, diminutive Argentine actress in the titular role? Or perhaps pop star Ricky Martin, who as the de-politicized Narrator née Guevara looks wholly uncomfortable in his own skin. Even Rob Ashford’s usually reliable choreography must come in for a bashing: in one number, The Art of the Possible, Juan Peron deftly vanquishes one general after another to propel himself into power. How does Ashford stage this? By having them awkwardly enact a series of half hearted Greco-Roman wrestling moves. It’s symbolic: this production flirts with a number of interesting ideas that get neither fully developed nor wholly abandoned, they just lie there like so much stagnant water. It’s hard to squarely pin the blame on any one individual because across the board everyone is off their game here, save the suave and golden-throated Max Von Essen as tango singer, Augustin Magaldi. It’s difficult to not feel for the two leads, either: Martin’s lack of stage experience isn’t served by stripping him of any discernible character. (The shift from Che Guevara to an anodyne Narrator is inexplicable. Are we to blame the anti-Castro theatergoing lobby?) And Roger tries hard but she lacks the powerhouse voice the role demands. Ultimately what this pointless revival makes all too clear is that at the Marquis Theatre there’s a thin line between immortality and ignominy.
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