“Absolute Power…”
This classic, award-winning musical has lyrics by Tim Rice,
music by Andrew Lloyd Webber, is
directed by Kirk Mouser, musical direction by Adam Young and choreographed by
Eric Zimmer. It is playing at the
Brunish Theatre (4th floor), 1111 SW Broadway, through May 13th. For more information, go to their site at www.stumptownstages.org
“…Corrupts Absolutely,” as the old saying goes. But just saying it hasn’t managed to stop
anyone from indulging this Art of Manipulation.
The practice is as old as the hills and is still going on with political
leaders throughout the world today, including this country. You see, politicians don’t actually lie, they
just have their own truths. Or, as the
military espouses in one of the better songs from the production, “The Art of
the Possible.” Then all they need are
the “unwashed masses” to buy anything they say.
It’s been a successful way of doing business for many moons.
In this incarnation of this story, based on real incidents
and people in Argentina of about 75 years ago, Eva (Kerry Moriarty), soon to be
Peron, is a very ambitious, young lady, preferring the night lights to the street
life. She hooks up with an important
figure about town, Magaldi (Anthony McCarthy), who opens doors for her. But she has higher hopes for herself and so,
shedding him like a snake sheds its old skin.
She soon finds herself in the political arena and among the Aristocrats,
finally meeting the man favored to win the presidency of the country, Juan
Peron (Matthew Eric Storm).
And so, when he is elected, she has maneuvered herself from
the nightlife to the place and they marry, after she summarily kicks out his
current mistress (Cassandra Pangelinan).
They both soon find out, because of her “common” background, she is
immediately accepted and adored by the populace, who has the same breeding as
she. Of course, the main order of
business of the military and politicians and the ilk, is to steal from the poor
and give to the rich. And so, a dilemma
arises as she begins to overshadow her husband.
She is even regarded as a Saint, especially by one young girl (Ainsley
Schmietenknop). But these experiences do
take a toll on her health.
Her amazing journey is told in narrative style in song by
Che (Luis Ventura), who has his own Waterloo to face in Cuba some years
later. The ensemble for this whole
production is excellent! Mouser always
manages to get the best voices in the area and they are outstanding in their
song and dance numbers. Some of my
favorites were “On This Night of a Thousand Stars,” “Buenos Aires,” as mentioned, “The Art of the Possible,”
“Another Suitcase in Another Hall” (beautifully rendered by Pangelinan), “A New
Argentina” (very spiritedly delivered by the ensemble), “And the Money Keeps
Rolling In’ and, of course, the classic, “Don’t Cry For Me Argentina”
(powerfully sung by Moriarty).
Mouser certainly has a good eye for casting and has assembled
a first-rate cast for this show. And
it’s not easy to stage a classic in such a small space but he knows how to get
the maximum effect without sacrificing quality.
Young and his orchestra manage to not let the group overpower the
singers and keeps pace easily with Webber’s complex score. Zimmer’s dance numbers are equally good, as
he manages to manipulate the space to his advantage.
The leads are all spot-on in their acting and singing. The ensemble also was first-rate in some very
complicated numbers and staging. And, as
always, I try to look for that “diamond in the rough” in a supporting role that
has real potential for bigger and better things onstage. In this case, it’s Pangelinan, who not only
has a grand voice for her number but also was very energetic and animated in
the chorus numbers. Hope to see more of
her onstage in the future.
I recommend this production.
If you do choose to see it, please tell them Dennis sent you.
--DJS
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