Greatest challenge: Greatest reward – Center Stage presents Evita

By Brenna Wiegand[singlepic=320,320,240,,right]

A cameo appearance by former Silverton Mayor Ken Hector is reason enough to go see Evita.

But for those rehearsing hard toward the musical’s Oct. 5 opening that’s just icing on a splendid cake.

Evita is Center Stage Production’s biggest challenge yet, according to Don Kelley, the Silverton attorney with a master’s degree in theater who founded the community theater group in 1978.

It’s only the second Andrew Lloyd Webber and Tim Rice musical that Center Stage has done. The other, Joseph and the Amazing Technicolor Dream Coat, was also the first Webber musical to be played locally.

This one is a Webber-Rice masterpiece chronicling the life and death of controversial Argentine political leader Eva Duarte Perón, second wife of Argentine president Juan Perón.

“When we pick a show, we look around to see what’s out there that we really want to do,” Kelley said. “Then you ask what’s out there that we’re capable of doing. Well, at this particular time, we’re capable of doing this amazing show. And since we’re capable of doing it, we should do it.”

The music is largely rock, salsa and calypso. Tim Duffy skillfully leads his orchestra through the intricate, lengthy score that requires an understanding of the story and the tension inherent in the show.

The chorus is powerful and adept.

“This music requires more expertise than any we’ve done,” Kelley said.  “I’m so glad Rick Cooper taught so many of the kids at the high school because they can do this music. When the harmony splits into seven or eight parts, you don’t hear it – it’s that good.” Cooper passed away within the past year.

For the first time, there’s a dedicated dance troupe, choreographed by Paula Magee of Silverton Ballet and coach of the SHS dance team.

The play uses Argentine guerilla fighter Che Guevara as the narrator. Though they went about it in very different ways and at different times, both Evita and Che were Argentine revolutionaries. Later, they speak indirectly to each other when, as stage direction says: “They waltz but they never touch.”

[singlepic=319,320,240,,right]“My view is that Che is not really there; he’s telling the story and the players are acting it out,” said Kelley, who believes the two never met. “The show opens with him looking backward.”

As the story unfolds the voices of Evita’s contemporaries emerge.

“The military hated her; Che absolutely loved her; the aristocracy never liked her and the people grew to adore her,” Kelley said. “You can go online and see some of the actual funeral footage. I heard you couldn’t buy a flower in all of Buenos Aires because every single one had been bought by somebody going to the funeral – tens of thousands of people lining the streets just crying.”

Carol Adams Fritsche says her role as Evita is equally fun and intimidating.

“It’s in Broadway revival now and so many American artists have played this role,” Fritsche said. “It’s also extremely sophisticated in all aspects, with very difficult music, but everybody has really stepped up to the challenge and embraced it. We’ve also been frustrated with it at times, but we have a great group and it is fun taking that journey together.”

Che is played by Paul Carter, Artful Dodger in last year’s Oliver and competitive beach volleyball player in real life.

“It’s a role that requires somebody who can really sing and Paul can really sing,” Kelley said.

Paul Zollner – Fagan in Oliver – plays Juan Perón while Steve Chaney plays Augustín Magaldi, a “lounge lizard-type character” Evita jilts once he gets her into show business. Both men, Kelley said, are perfect in their roles. For instance, Chaney’s solo has the cast applauding in rehearsals.

“I’m going to have to break them of that.”

In the fly loft an expert crew runs the rigging, orchestrating the series of ropes, pulleys and counterweights necessary for a smooth show.

“It’s a very important thing because you’ve got to be careful not to go up or down too far too fast,” Kelley said. “I’ve enrolled my brother Tim (Kelley), who’s been on stage a lot, and Brent George – he owns Equipment Works in Mount Angel.

“They’re both familiar with running equipment, they’re dependable and they don’t take chances.”

Don Kelley devised a way to spin props out of foam insulation. For the large rock wall and balcony where Evita sings “Don’t Cry for Me Argentina,” they cut rough block shapes out of the foam and field-torched it, producing rocklike contours. Theresa Kelley, Don’s wife, got busy painting. Kelley hopes Theresa “holds out” as she creates the vast array of 1940s costumes the show requires.

“Evita alone has six or seven of some of the most gorgeous costumes,” he said. “Theresa has a real feel for the 40s.”

There’s a reference in the show to Christian Dior. Hunting for inspiration in a stack of donated hats, they discovered, to their great delight, an authentic Christian Dior headpiece.

“It is the cutest, chicest hat you’ve ever seen in your life,” Kelley said.