Front center L-R. Matín Ruiz and Fran Tapia. Back L-R. Luis Obed, Camila Aldet, Luis Benitez, Jennifer Preston, Oscar Rodríguez, and Darina Eid. Photo Daniel Martínez.
Eva Perón’s story is the stuff of movies, books, and, yes, even ghost stories. The meteoric rise of Evita from Argentine “showgirl” to beloved political figure has been comprehensively documented. Now, in GALA Hispanic Theatre’s hands, a new musical, with a rather unconventional twist, covers what happened after Evita died, focusing on the legendary Argentinian’s afterlife.
…a hilarious musical with a very serious message…heartfelt, soulful, and a toe-tapping, sing-along ride.…GALA presents a new play that takes theatrical risks which delightfully pay off.
“Momia en el Clóset: Evita’s Return,” with book and lyrics by Gustavo Ott and music by Mariano Vales, takes the unbelievable story of what happened to Evita after her death and turns it into a hilarious musical with a very serious message. As Ott explains in the “playwright’s notes,” it is about “the fangs that come to us in the shape of our long-time scars.” Evita is a victim in this musical—of power politics, of misogyny, and of the type of culture that refuses to see people as human beings.
The play begins in 1952 shortly after the death of Eva Peron. Her body is then preserved and put on display. In reality, Evita’s body was put on display for almost two years as preparations for a monument honoring her and the descamisados were underway. This is when things get a bit dicey. Juan Peron is overthrown and Evita’s body goes missing. For over fifteen years, the body was essentially unaccounted for. Ott’s play digs in. We see Eva Peron, a mummy in a closet wearing a white ball gown that slowly deteriorates as the play progresses, moving from secret location to secret location. Everyone wants a piece of Evita and to control the once uncontrollable figurehead of Argentina. As a mummy, she is easily manipulated and contorted into people’s fantasized versions of her. It is both comical and on occasion, depraved. Set to songs such as “Mummy, Little Mummy” and “The Last Page,” it is also heartfelt, soulful, and a toe-tapping, sing-along ride.
Under the direction of Mariano Caligaris, the journey of Evita’s mummy is reminiscent of a wonderfully bizarre circus or some sort of incredible funhouse experience. The set, quite masterfully conceived by Grisele Gonzales (you can always count on Gala’s sets to be next level, and this is no exception), certainly suggests an ominous “funhouse” vibe—one from which you might never emerge. Evita’s mummy gets tossed around (quite literally at times) from soldiers trying to hide her from her ardent Argentinian fans, to lascivious politicians who would have their way with her, and to her final resting place in Milan under an alias (lest anybody discover the whereabouts of “Santa Evita.”)
Each segment of the mummy’s journey is characterized by outlandish characters and otherworldly song and dance numbers. Perhaps the most spectacular part of this production is the musical numbers. Choreographer Valeria Cossu brilliantly blends the spirit of Argentina with the supernatural, taking audiences on a mesmerizing and fantastical odyssey. Walter “Bobby” McCoy’s intuitive musical direction can be deeply felt at every turn here.
“Momia en el Clóset” is a new work and world premieres can understandably have their hiccups. Generally, such hiccups can be overcome with a cast unafraid to push through and roll with it. GALA has assembled just such a cast. The polish and give-and-take between the actors make the inherent fantasy come alive. As Evita, Fran Tapia shines even in the character’s more decomposed states. Other notable standouts include Martín Ruiz as Juan Perón, Diego Mariani as López, and Camila Taleisnik as Isabel Perón. The entire ensemble just works.
Of course, in a musical production centering on mummies, the effects are everything. Kudos to Justin Schmitz (sound design), Hailey Laroe (lighting and projections), Becca Janney (costume design) and Andre Hopfer (hair and makeup). The musical may be construed as a bit of a risk—we are dealing with military coups, political upheaval, and women’s rights as seen through the eyes of a mummy after all—but it works. GALA presents a new play that takes theatrical risks which delightfully pay off.
Running Time: One hour and 45 minutes with one intermission.
Advisory: Suggestions of sexual assault.
“Momia en el Closet (Mummy in the Closet): Evita’s Return’ runs through June 9, 2024 at GALA Hispanic Theatre, 3333 14th St NW, Washington, DC 20010. For more information and to purchase tickets, go online. In Spanish with English surtitles.
: Evita’s Return’ at GALA Hispanic Theatre){kind=link}