A silvery-gray, classic art deco proscenium surrounds the performance space for “Evita,” which opened on the modest stage at Roxy’s Downtown last Friday. As I sat in the audience wondering how this small theater would visually tackle the challenges inherent in this epic, a series of layered panels lit up with mostly black and white historical photos and film. 

When the richly blended voices of the nine chorus members lifted like a dark and glorious bird into the air with the eerie power of “Requiem,” I felt chills, and tears started to sting my eyes. It occurred to me that as a viewer I was going to be asked to listen a little more carefully and consider a bit more deeply — and that I was going to receive the space to do that. I found myself leaning forward, into the complex and human story of a controversial, self-made legend.

Director Rick Bumgardner has taken a minimalist approach to this production’s  staging and art direction. The resulting tone is stylish and austere — and allows the vibrant character of Eva Perón to shine as the focus of every monochrome scene she appears in.

Starring in the demanding title role, Tara Shaffer conquers the difficult score, which requires considerable skill at singing a variety of styles, including Argentinian tango, ’70s pop, opera, Latin jazz, and even military marches. Her beautiful rendition of “Don’t Cry for Me Argentina” soared and encircled the captive audience, which seemed to feel her Evita’s embrace.

An accomplished actor, Shaffer successfully embodies Perón throughout a variety of the personas established in this script: the ambitious actress from poor beginnings, the smitten young woman with an eye on the president and the vice presidency, the adored hero of the people, and the waning flame wracked with cervical cancer. It’s a lot to convey, the story is complicated, and nearly every word is delivered via song. On opening night, I felt Evita’s longing, frustration, and determination — and heard each word Shaffer sang.

Shaffer is also particularly effective during the quickly paced “Rainbow High,” in which she demands the accoutrement she requires and deserves as Argentina’s first lady, and the sensuous, “I’d Be Surprisingly Good for You,” in which she persuades Juan Perón (William Green) that she can be an asset to his political career.

Carrying the brunt of the narrative is Che (Zachary Garraway), who acts as our conscience and guides us through Evita’s short, adventurous life from his cynical perspective. Garraway’s Che is bitter yet charming, with a driving energy that builds as the show progresses. The actor does solid vocal work throughout, but really hits his stride on the dynamic “And the Money Kept Rolling In.” His physical performance underscores Che’s conviction and the authenticity of this character.

Green as the authoritarian Perón resembles the handsome older politician, and he has a gentle, soothing singing voice that can rise to express anger or concern. Nilo Reynoso as Eva’s (soon-to-be-ex) husband Magaldi is a smarmy bit of comic relief with a vulnerable heart. Hayley Loya’s Mistress has one of the most touching numbers in the show, “Another Suitcase in Another Hall,” and here we can feel her rejection and ultimate resignation.

An aural treat, the chorus — Kiera Abrienne, Nicholas Amezola, MJ Harper, Mason McClellan, Carson Manlove, Ethan Manlove, Vonda Schuster, Mark Shobe, and Kristen Witsman — contribute a great deal to the musical essence and complexity of the show. They also act as an ancient Greek-style chorus, observing and reflecting on the action, and often represent Evita’s infatuated acolytes. Bumgardner has them staged in the house periodically, thinning the fourth wall so when they are among us in the audience, we feel like Eva’s “people,” too.

The simple yet effective set, designed by J Branson with projections by Bumgardner and Sean Jones, flows with the narrative, presenting images that were captured during the years when the action takes place (1934-1952) and creating an uncanny background upon which the actual historical figures are sometimes pictured. 

Sparkling and glowing against this gray background is our heroine, stunning in costumes by Chadwick Armstrong: glistening ballgowns, Chanel suits, Dior dresses, and jewels, jewels, jewels. All other cast members are mostly clad in neutrals, reinforcing the idea that Evita exists on another, higher plain.

A seven-piece orchestra led by Simon Hill deftly presents the score in all its diverse glory. Written by Tim Rice and Andrew Lloyd Webber and originally released as a rock opera concept album in 1976, the music is mostly masterful, and several memorable numbers endure beyond musical theater culture. At times, however, Webber’s attempt to atomic shoehorn in a ’70s pop sensibility is a little jarring, especially in a few of Che’s earlier numbers. Regardless, the cast, crew, and musicians rise above this minor annoyance.

I left the theater deep in thought about ambition, celebrity, hero worship, and politics — past and present. It seems people have always been desperate for a hero, always willing to compromise to feel better about their dire circumstances.

The Details

Roxy’s Downtown presents “Evita”
August 22-September 27, 2025, at Roxy’s Downtown, 412 ½ E. Douglas Ave. in Wichita 

Tickets are $42. Group discounts are available.

Learn more and buy tickets. 

Teri Mott is a writer and actor in Wichita, Kansas, where she covers the arts as a critic and feature writer. She is co-founder of the SHOUT.

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