Throughout history, women have played an influential role in politics, many without ever having official power.  Eva Perón, wife of President Juan Perón of Argentina, was one of the most powerful.  She was a legend, who touched the hearts of her people.  Her inspiring story comes to life again in an insipid Broadway revival of Evita, a biographical musical that delves into the fame and controversy of Argentina’s former First Lady.  While this show is a visually stunning masterpiece, its plot and analysis of Eva’s life leaves much to be desired.

The musical is a confusing timeline of Eva Perón’s (Argentinean actress Elena Roger) life, from her humble beginnings to her death.  Roger is perfect as the passionate and strong Eva.  She is a singing powerhouse and blew me away with her soulful rendition of “Buenos Aires.” With little character development written into the script, Roger still manages to create a believable Eva.  The entire musical is narrated by a commoner Che (pop star Ricky Martin), who assesses Eva’s decisions.  Martin has a voice to die for and a gorgeous falsetto, though his character is a useless addition.  Che doesn’t add any depth to the storyline by providing perplexing commentary that both praises and criticizes Eva’s actions.  By the end of the show, I was unsure whether to love Eva or despise her.  Nonetheless, Martin’s portrayal of Che made the character extremely likeable.  I melted when he sang “High Flying, Adored.”

There is no doubt that this piece is a treat for the eyes and ears.  The musical is staged like a movie.  The set is breathtaking and realistic.  It successfully captures the beauty of Argentina.  The magnificent two-tiered set of the Casa Rosada is used cleverly, transforming easily into different locations.  The lighting is theatrical, yet radiant.  The effects stood out on the large stage of the Marquis Theatre.  The choreography is very tasteful, with a hint of Argentinean tango mixed in.  The score contains many memorable and lyrical tunes such as the prominent “Don’t Cry for Me Argentina.”

Unfortunately, these gems of Evita are greatly hindered by the messy storyline and sleep-inducing script.  Eva’s life is presented in small disconnected snippets with little significant conflict.  Additionally, there is a lack of character development.  You never get close enough to any of the characters to understand their struggles.  Though there is nothing too humorous about Eva’s life, the musical lacks any type of comic relief.  Despite some of the high-energy numbers like “The Money Kept Rolling In (And Out),” the entire show proceeds with a depressing ambiance.

Evita is a disappointment, unable to stimulate new interest for what should have been an engaging classic.