Chicago Tribune - Somewhat Recommended
"...Although Grandage is a director who rarely misses, his “Evita” has issues, which can be boiled down to it being an overly stolid and cautious production, really. It's a show insufficiently fueled with grit and sexuality, although the road version moves quickly and employs less statesmanlike scenery to get in the way. I was not privy to the creative process, but the result looks as if Grandage and his collaborators all were a bit too worried about pleasing the high-profile writers with a show that would ennoble their work (maybe as compensation for having cast Ricky Martin as Che in New York) and not worried enough about kicking the show in the guts and making it cry out anew. For anyone with the Hal Prince original still in their head, there will be some disconnects, although what worked some 30 years ago would not look so hot now. A great new “Evita” is still in the future."
Time Out Chicago - Recommended
"...As Eva, Caroline Bowman meets the punishing demands of Lloyd Webber's score admirably, but rarely seems to reach out to connect with us, as she must if we're to get the "star quality" that endeared her to the Argentinian poor from which she rose. (Desi Oakley serves as an alternate Eva at some performances.) Rob Ashford's Tony-nominated choreography, which finds umpteen variations on the tango, is impressively executed, and the imposing sets and glittering costumes (both by Christopher Oram) contribute to an attractive, enjoyable package, with ear-pleasing renditions of the show's well-known numbers ("Don't Cry for Me Argentina," "Another Suitcase in Another Hall," "Rainbow High"). Yet Grandage's production, like Eva the character, falsely equates glamour with power. It's an attractive diversion, but it's not changing anybody's lives."
ShowBizChicago - Highly Recommended
"...Composer Andrew Lloyd Webber has retooled his score a bit, especially through the orchestrations which are more period appropriate. For this Chicago outing, the orchestra in the pit was sensational with some of the best trumpets I have ever heard. Also gone is Larry Fuller’s choreography, which artfully pitted the middle class against the military and aristocracy. Choreographer Rob Ashford’s staging is tango infused which though initially engaging, gets a bit overused midpoint though the production. Christopher Oram’s luscious set, beautifully lit by Neil Austin gives the show an authentic architectural feel making the balcony scene a visual triumph."
ChicagoCritic - Recommended
"...I like this show as the cast got everything out of Webber’s score. While not a ‘great’ show, this production of Evita is as good anEvitaas you’ll find. If you’ve never seen this classic pop opera show, get to the Oriental Theatre soon, it only runs until October 6, 2013. You’ll cry for Argentina."
Around The Town Chicago - Highly Recommended
"...“Evita” is the inspiration of lyricist Tim Rice and composer Andrew Lloyd Weber. It began as a rock opera concept album in 1976, opened as a musical at London’s West End in 1978, and premiered on Broadway in 1979 to rave reviews, earning 7 Tony Awards, including Best Musical, the first British production to do so. Since then, this magnificent work has been performed on stages large and small around the world and it remains one of the most popular musicals of all time."
Chicago Theatre Review - Highly Recommended
"...While original director Michael Grandage has neglected most of the humor found in the original production, this is a sound version of Webber's beloved early collaboration with lyricist Tim Rice. With haunting songs like "Don't Cry for me Argentina," "High Flying Adored," "Another Suitcase in Another Hall" (nicely sung by Krystina Alabado as the Mistress) and "On This Night of a Thousand Stars," this production is in every way a respectable "Rainbow Tour.""
Huffington Post - Recommended
"...While this tour needs some time to find its footing and grit, there are many assets, including a sizable orchestra and thrilling new orchestrations, that make this a worthy viewing. Ashford's athletic and always-in-motion ensemble choreography (his trademark) works well here, helping propel the action forward."
