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  Play Details

Evita

Marriott Theatre In Lincolnshire
10 Marriott Drive Lincolnshire

Andrew Lloyd Webber's complex and dynamic musical masterpiece, charting Eva Peron's ambitious rise from poverty to First Lady of Argentina. Featuring a renowned musical score including "Don't Cry for Me, Argentina".

Thru - Jun 5, 2016

Half Price Tickets

Sat, May 28: 4:30pm & 8:00pm
Sun, May 29: 1:00pm & 5:00pm
Wed, Jun 1: 8:00pm
Thu, Jun 2: 1:00pm & 8:00pm
Fri, Jun 3: 8:00pm
Sat, Jun 4: 4:30pm & 8:00pm
Sun, Jun 5: 1:00pm & 5:00pm



Price: $50-$55

Show Type: Musical

Running Time: 2hrs, 30mins; one intermission

Buy Tickets

Click Here for Half-Price Tickets


Marriott Theatre In Lincolnshire Seating Chart


  Evita Reviews
  • Highly Recommended
  • Recommended
  • Somewhat Recommended
  • Not Recommended

Chicago Tribune - Somewhat Recommended

"...There is very little at stake emotionally or politically on the stage: The only performer who feels genuinely vulnerable is Larry Adams, who plays Juan Peron with a palpable sense throughout that everything is about to go terribly wrong — a fatalism that, thankfully, adds to the complexity of a production that badly needs injections of noir."
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Chris Jones


Chicago Sun Times - Highly Recommended

"...In fact, with its themes of class warfare, and the tension between the politics of faux populism and socialism, the show — now in a vividly etched production at Marriot Theatre, where it has been directed and choreographed by Alex Sanchez as if it were one extended tango — it remains astonishingly timely. And its three leading actors — Hannah Corneau (as Eva), Larry Adams (as her husband, Juan Peron) and Austin Lesch (as Che, Eva’s ever-prodding Brechtian nemesis) — bring fresh, intriguing portrayals to their iconic characters, with every member of the ensemble in perfect synchrony with them."
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Hedy Weiss


Daily Herald - Recommended

"...Tightly written, albeit musically repetitive, "Evita" boasts shrewd lyrics and a Latin-infused score comprised of lilting tangos, plaintive ballads and a recurring requiem accented by angry guitars and a judicious use of dissonance. It has as its central character a charismatic public figure who inspired legions of devotees who hailed Eva as a saint, as well as detractors who labeled her and her husband, Argentine President Juan Peron, as fascists who offered Nazi war criminals refuge."
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Barbara Vitello


Chicago Reader - Somewhat Recommended

"...Although nicely done under Alex Sanchez's direction, this Marriott Theatre production is helpless in the face of one enormous obstacle: the material itself. Andrew Lloyd Webber and Tim Rice's 1978 pseudo-opera uses squishy politics and pop psychologizing to tell the story of Eva Peron's rise from small-town temptress to Argentine saint. It's bad enough that they contrive a silly opposition between Peron and her countryman Che Guevara-using Guevara as a sort of Marxist terrier-to point out easy ironies."
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Tony Adler


ShowBizChicago - Recommended

"...Before the Andrew Lloyd Webber and Tim Rice smash Broadway musical Evita many had either forgotten or knew nothing about the wife of Argentinian dictator Juan Peron who terrorized his country from 1946 to 1955. Lyricist Tim Rice was listening to a radio program where they aired some of Eva Peron’s fiery speeches and, being having always been fascinated by her, pitched the idea to Lloyd Webber to compose a musical about her life."
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James Murray


Stage and Cinema - Recommended

"...All the big musical and political moments are appropriately larger-than-life, especially the “A New Argentina” first-act rouser and the cavalcade of corruption in “And The Money Came Rolling In.” Predictably reliable, Thomas M. Ryan’s evocative set pieces, Nancy Missimi’s Dior-drenched costumes, and Jesse Klug’s class-conscious lighting effects only require Ryan T. Nelson’s consummate musical direction and a golden ensemble to make this rock/soap opera soar. You can even forgive Tim Rice’s forced and clumsy lyrics—almost."
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Lawrence Bommer


ChicagoCritic - Highly Recommended

"...What is especially evident was the amount of old-fashioned Hollywood gloss only an actress could bring to a blatant Socialist agenda. Tim Rice’s scathing lyrics allow us to ponder the magical effects of charisma and stage management that frequently shrouded good deeds among corruption and self-glorification. Hollywood film director Alan Parker gave us a kinder and gentler version of this tale as a showcase for mega-star Madonna in 1996. The Marriott has now returned the work to its more cynical roots (as well as the original vocal demands) while also showing Juan and Eva Peron as soul mates who complimented and elevated rather than eclipsed one another."
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Joe Stead


Around The Town Chicago - Highly Recommended

"...With music by Andrew Lloyd Webber and lyrics by Tim Rice, this rock opera tells the story of Argentina’s First Lady, Eva Peron. The story begins with her death, and since this is an in-the-round theater, instead of our setting in a movie theater with the movie being interrupted, we have a family listening to the radio. When the announcement is made, our ensemble members become the people of Argentina, those who loved and worshipped her until her untimely death at age thirty-three."
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Alan Bresloff


NewCity Chicago - Somewhat Recommended

"...When I saw the show, it seemed that Hannah Corneau’s voice was not optimal for the role of Eva and that she had not acquired the vocal technique sufficient to offset that conundrum (Samantha Pauly shares the role at some performances). I could not hear the story against the sound of my apprehension."
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Aaron Hunt


Chicago Theatre Review - Highly Recommended

"...Yet this show is truly all about its gorgeous score. It’s musically directed here by the talented Ryan T. Nelson. These beautiful songs, interpreted with clarity and finesse by a stellar cast, would make Webber and his lyricist Tim Rice proud. The sound and passion of this score cannot be matched. With haunting songs like “Oh, What a Circus,” “I’d Be Surprisingly Good for You,” “Rainbow High,” “You Must Love Me,” “Another Suitcase in Another Hall” (nicely sung by Eliza Palasz as the young Mistress), “On This Night of a Thousand Stars” and, of course, “Don’t Cry for Me, Argentina,” this production is in every way a breathtaking, impressive “High Flying Adored.”"
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Colin Douglas


Chicagoland Theater Reviews - Highly Recommended

"...“Evita” has always been one of my favorite musicals. The Harold Prince staging never fails to dazzle. He took what is basically a tawdry story of a tinhorn dictator and his round-heeled consort and turns it into a theatrical feast. The Lloyd Webber-Rice score is the best of their collaborations. The show is almost entirely sung through, highlighted by the signature song “Don’t Cry for Me, Argentina” and the even better, if less known, “High Flying, Adored.”"
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Dan Zeff


Chicago Theater Beat - Recommended

"...With a stronger lead, this Evita would have been much more memorable. As it is, the production is hit or miss. The ensemble and other principals do fantastic work, but one can't argue that the show is called Evita, not Che or Magaldi or even The Mistress. (The latter could have been an interesting spin-off, though.) Corneau tries, but just isn't up to the task of playing a dynamo. She's merely good, when any actress playing Evita must be great."

Lauren Whalen


Chicagoland Musical Theatre - Highly Recommended

"...Instead I am thrilled to report Director and Choreographer Alex Sanchez‘s staging is a brilliant operatic retelling of Argentine First Lady Eva Peron‘s most interesting life (let’s leave the historical accuracy argument to the historians). His treatment of the Andrew Lloyd Webber and Tim Rice masterpiece is simultaneously haunting, jubilant, reflective and inspiring."
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Barry Reszel


  Evita Photo Gallery

   This show has been Jeff Recommended*

*The designation of "Jeff Recommended" is given to a production when at least ONE ELEMENT of the show was deemed outstanding by the Joseph Jefferson Awards Committee.


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