Newsday: ‘Evita’ review: The Peróns with passion

You’ll find few better opportunities to appreciate “Evita” than in this emotionally charged Engeman Theater reincarnation in Northport.

Don’t cry for Andrew Lloyd Webber. Sir Andy needn’t work a day the rest of his life. But while I don’t lose sleep over it, whenever “Evita” is revived, I wonder what might’ve been had he continued collaborating with Tim Rice.

We won’t cry for Sir Timmy, either. He went on to pen lyrics for “Beauty and the Beast,” “The Lion King” and “Aladdin.” Still, Webber never wrote a richer score than the last one he composed with Rice — “Phantom of the Opera” notwithstanding.

You’ll find few better opportunities to appreciate “Evita” than in this emotionally charged Engeman Theater reincarnation in Northport. Forget the 2012 Broadway revival with Ricky Martin as Ché or the dreadful 1996 Madonna movie — this “Evita” feels authentic. Never mind the poetic-license story line. The only evidence that Ché, the revolutionary martyr who narrates this life story of the ambitious poor girl Eva Duarte, later Perón, had anything to do with her is that he, too, was Argentine. But Ché, in the sardonic person of Aaron Finley, is the perfect critic of a junta opportunist who sleeps her way to the top.

Rice’s flamenco-to-classical operetta lyrics paint an Eva we can all relate to — if we’re shameless enough. Janine DiVita (rhymes with “Evita”) could be the pretty girl next door, except for her Latina chutzpah. In a macho society, she treats men like horses, riding them until they’re spent. Then she finds another mount. Her ambitions are captured in such feisty merry-go-round numbers as “Good Night and Thank You” (Ruben Flores plays her first casualty) and the musical-chairs masterpiece depicting Generale/El-Presidente-to-Be Perón’s ascension, “The Art of the Possible.”

Bruce Winant as Perón looks the part and sings it convincingly in “She Is a Diamond.” But without Eva, Perón would remain a soldier. Her ruthless humanity is encapsulated in perhaps the greatest number ever written for a minor character, identified only as “Mistress.” Eva reassures the girl she’s displacing in Perón’s bed, before Ashley Perez Flanagan sings with resignation for her dignity, “Another Suitcase in Another Hall.”

Daniel Willis’ bi-level set and Kurt Alger’s costume and wig designs encapsulate time and place. Conductor James Olmstead and choreographer Antoinette DiPietropolo keep the cast going with the flow. One complaint with director Igor Goldin’s casting: The adoring crowd beneath Eva’s balcony, where she pleads, “Don’t Cry for Me Argentina,” is too sparse. DiVita’s Evita deserves legions.


WHEN l WHERE Weekly: Sun. 2 p.m.; Thu. 8 p.m.; Fri. 8 p.m.; Sat. 3 p.m., 8 p.m.Through Sun. 11/2. Additional dates: Thu. 10/23 2 p.m., John W. Engeman Theater at Northport, 250 Main St., Northport

INFO $69,, 631-261-2900

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Janine DiVita plays Eva Peron in "Evita," the Scenes from ‘Evita’ Janine DiVita stars as Eva Peron in the ‘Evita’ at the John W. Engeman Theater

Times Beacon Record: ‘Evita’ triumphs at Northport’s Engeman Theater

Readers be advised: This is going to be a rave review. This revival of Tim Rice and Andrew Lloyd Webber’s famous hit “Evita” at the John W. Engeman Theater in Northport was so enthralling that your scribe has felt urged to abandon, temporarily, his inherited Welsh reserve and abhorrence of superlatives, and embrace the perpendicular pronoun.

I believe the musical about the rise and fall of the wife of dictator Juan Perόn of Argentina is more opera than musical comedy. Yet “Evita” stands as a monument to American theater, and was once banned in Argentina.

“Evita” traces the sordid, checkered past of young Eva Duarte from the small town of Los Toldos to become “first lady” of Argentina. She was a beacon to the women’s movement worldwide as she shared political power with her husband, the dictator, from 1948 to 1952, when she died of cancer at the age of 33.

Janine Divita plays the title role with glamour, grace and a strong, plangent soprano. Her stage presence, tall and angular, is captivating. Her role is varied as she sells out the life a poor teenager from the provinces to a career on the fringe of Buenos Aires life, small roles in radio and movies, until she meets Perόn at a fundraiser.

Divita engages in some trigger-tongue banter in Buenos Aires, but tops it all in her rendition of “Don’t Cry for Me Argentina,” which she sings stage center, elevated and in a strapless white gown. The only word to describe it was “impact.” She was at her near best as a dancer and integrated well into the evolutions of the finest choreography director in the six theater spots I am assigned to: Antoinette DiPietropolo. Divita’s “You Must Love Me,” sung to Perόn, and her “Lament” at the finale were penetrating.

Bruce Winant is Perόn. He is sturdy, truly in love with Evita and possessed of a fine tenor effective at mid and lyric range, but with outstanding power. His interfacing with Divita is carried off with highly professional quality. His “The Art of the Possible” was not only penetrating, but illustrative of his talent.


Aaron C. Finley as ‘Che.’ Photo by Michael DeCristofaro

Then there is Aaron C. Finley as “Che.” He had virtually no exits and served neatly and incisively as a Greek chorus in song that guided the audience through the entire play. His opening number, “Oh, What a Circus,” and “Good Night and Thank You,” coupled with “High Flying, Adored” and “And the Money Kept Rolling In (and Out)” were a tribute to Finley’s extraordinary range.

A word about “Che”: It is an Argentine colloquialism meaning “Hey, you,” and marks the speaker as an Argentinian. However the real “Che” was Ernesto “Che” Guevara, a 24-year-old Argentinian Communist who migrated to Cuba to become Fidel Castro’s right-hand man. He never knew or met Evita or her husband. In 1967, in an attempt to foment revolution in Bolivia, he was cornered and gunned down by a Bolivian Ranger, thus ending the Castro-Mao brand of revolution.

Ruben Flores was Agust’n Magaldi, a two-bit tango singer who takes Evita to Buenos Aires and abandons her. His “On this Night of a Thousand Stars” is a neat takeoff on those Latin ballads that captivated Yankee audiences in the 1930s and ’40s, such as “You Belong to My Heart” or “Bahia.”

The “Company” deserves equal praise: Emily Esposito, Ashley Perez Flanagan, Ruben Flores, Megan Koumis, Justin Gregory Lopez, Erika Peterson, Ryan Rhue, Hallie Silverston and Gilbert Sanchez.

I place the music last for obvious reasons — it was the finest. Under the unerring direction of James Olmstead on piano, it featured the workmanship of Joe Boardman on trumpet, Marnie Harris on violin, Douglas Baldwin on guitar, Russ Brown on bass and Josh Endlich on percussion. Endlich had the lead in a number of Latin-beat numbers that rocked the house. This outfit anchored everything with nanosecond precision.

I hope that readers get the message that this “Evita” is the best “theatah” around.

The John W. Engeman Theater, 250 Main St., Northport will present “Evita” through Nov. 2. Tickets are $69. For more information, call 261-2900 or visit

The Northport Daily News: “Evita” wows audiences at the Engeman Theater: Prepare for a magical night

“Evita,” the musical about the rise and fall of Argentina’s most beloved (and controversial) First Lady has opened at Northport’s John W. Engeman Theater.  Although more than 60 years have passed since her demise, the legend and mystique of Eva Perón lingers on. Was the woman affectionately referred to as Evita  truly a saintly champion of the masses– or  a savvy manipulator whose actions were fueled by greed and ambition?  The truth lies somewhere in-between.    In the hands of Director Igor Goldin and an exemplary cast, this historical saga revisited in song featuring lyrics by Tim Rice and music by Andrew Lloyd Webber is a powerhouse of a production.  It draws you in, enthralls and leaves you wanting more.  You’ll find yourself humming one of the show-stopping songs, and seeking  additional information about the woman who rose from the slums of Argentina to reign as the country’s spiritual leader and  spokesperson for the President. Prepare for a magical night.

Eva Perón was one of five illegitimate children born to a wealthy rancher in a country that stigmatized such offspring. Juan Duarte abandoned his brood, plunging the family into dire poverty.  Yet Eva refused to let her circumstances extinguish her hopes, and  relentlessly pursued her dream to escape to Buenos Aires,  Argentina’s Big Apple.   Eva became an actress, and serendipitously met  Colonel Juan Perón  at a  charity benefit for San Juan earthquake victims.  This fortuitous meeting would set the stage for Juan’s presidency.

Sadly, for Eva Perón, her Cinderella story would be short-lived. The show opens with “Requiem,” a solemn ode to the First Lady whose death from cancer at age 33 brought Argentina to its knees.

The musical numbers which follow fill in the details of Eva Perón’s rags to riches story. Che (Aaron C. Finely) who espouses a critical view of Eva’s escapades, straddles the fourth wall, serving as the narrator/commentator while also joining in on the action.

The songs “Eva, Beware of the City” sung by Magaldi (Ruben Flores) and “Buenos Aires,” resonate with the desire of young Eva (Janine Divita), then a brunette, to escape to the town considered the ‘Paris’ of Argentina.

In her quest to rise to lofty heights, Eva became a blonde who was not above using her feminine wiles to obtain favors from prominent men.

Particularly entertaining and humorous is “Goodnight and Thank You,” in which Eva beds and discards a series of lovers while the sardonic Che looks on with disgust and comments accordingly.

Interestingly enough, the woman who seemed to have a hard time saying no took a different tactic when she ran into Colonel Perón (Bruce Winant).

“I’d Be Surprisingly Good for You,” Eva sings to Colonel Perón , and she turns out to be right. She hastily dispatches Juan’s young mistress, played by Ashley Perez Flanagan, the daughter of Senator John Flanagan.  This mistress is no hard-shelled Eva Perón, and  the young woman, who has been abruptly kicked to the curb, sees that she is becoming more vulnerable as each “love” affair draws to an end.  Her stunningly heartbreaking and poignant  “Another Suitcase in Another Hall” is a true delight that showcases Ms. Perez Flanagan’s considerable gift for acting and song.

Perhaps the pinnacle of the show occurs when Juan Perón wins the presidency and Eva, dressed to the nines in a shimmering sequined white dress, addresses the crowd assembled below the balcony of the Casa Rosada.   We catch a glimpse of the perfectly coiffed golden-haired beauty as she strides by a translucent rounded top window. It is a magical prelude to Eva’s glorious rendition of “Don’t Cry for Me, Argentina.”

As part of the quest of the Peróns to orchestrate a “New Argentina,” Eva establishes her charitable foundation. The highly engaging song, “And the Money Kept Rolling In,” suggests that some of the funds destined for the poverty-stricken might have been used to feather the Peróns’ own financial nest.

Evita is a winning production which runs the gamut from the humorous to the profoundly sad.  Kudos to Michael Cassara for the casting.  Janine Divita excels as Evita and Bruce Winant is a true talent who compliments her perfectly and as was pointed out to me, actually resembles Juan Perón. Aaron C. Finley adds just the right amount of spice as Che.

The dance moves (and there’s some dirty dancing) are beautifully choreographed by Antoinette DiPietropolo. The show is all about the music and once again, the band led by James Olmstead, whose work I have admired in the past, delivers the goods and then some.

With lighting by Zach Blane, Daniel Willis’ set takes on the humble aura of a tango café one moment and is palatial the next.

“Evita” runs through November 2. The Engeman Theater is located at 250 Main St., Northport Village. Tickets can be purchased at the theater’s box office, by calling (631) 261-2900 or by visiting

The Long-Islander: ‘Evita’ Dazzles At The Engeman Theater

Janine Divita dazzles as Eva Peron in Engeman Theater’s “Evita.”

Don’t cry for her, Argentina!

The spirit of the legendary Eva “Evita” Peron is alive and well, and temporarily living in Northport at the John W. Engeman Theater.

“Evita,” the Andrew Lloyd-Webber-Tim Rice operetta, opened on Sept. 18 and runs through Nov. 2.

If you haven’t already purchased tickets, you should. The resounding reactions of early audiences should mean this production will soon sell out.

In Broadway’s original “Evita,” Northport native Patti LuPone’s portrayal of Eva Peron set the gold standard for anyone else who undertakes the role.

The beautiful Janine Divita’s performance of Evita at the Engeman is one that LuPone would applaud. Divita is the real deal. She becomes Evita with every breath she takes, every elegant move she makes, as well as with every incredible word she sings in a play that has no spoken dialogue.

Divita’s voice is glorious, filling the theatre with a majestic quality that captivates audiences just as the real Evita Peron captured the working-class hearts of Juan Peron’s Argentina during the World War II and post War era.

For those who aren’t familiar with the play, the story focuses on the meteoric rise to fame and fortune of Maria Eva Duarte Peron (“Evita”), who began life as a poor girl in the slums of Argentina, but with steely determination and the use of her sexual wiles, climbed the ladder of success to become a model and stage actress and then, First Lady of her nation.

Eva Peron may have been the first of many modern-day women who knew how to use the media to help build and maintain the image she wished to convey to her adoring public. While the working class loved her, she was ridiculed by the upper class.

Divita portrays Evita with a fire in her belly and sheer determination in her eyes.

The play is told with the use of a storyteller, Che (the rebel Che Guevara, one of Juan Peron’s political foes). Che is played by Aaron C. Finley. Finley’s stage presence is commanding, his voice astounding.

Evita begins as an audience of working place Argentines sit in a theater enjoying a film. A voice breaks in telling them their beloved Eva Peron has died. Deep shock and sadness ensue, and the people reverently sing a Requiem to their cherished Evita.

Che cynically dismisses all the mourning, singing, “Oh, What a Circus.”

In a few flashbacks in time, the audience witnesses the teen-aged brunette Eva, convincing a tango lounge singer to take her out of the slums to Buenos Aires, where she is determined to become a star. Che sings of her ability to hitch her wagon to the star of any man who can further her career. We see the young Eva sleeping her way up the ladder of success.

After an earthquake severely damages one Argentine city, the now blonde Eva attends a fundraiser hosted by military leader, Juan Peron. In a bold gesture, she seduces Peron by serenading him with “I’d be Surprisingly Good for You.” Peron agrees with her words. He takes her home with him, that night, where she immediately moves in, dismissing his current mistress.

Peron’s election and the success he and Evita eagerly embrace are ridiculed by Che in the song, “High Flying and Adored.”

In Act 2, the operetta’s amazing showstopper, “Don’t Cry For Me Argentina,” has Evita singing to the masses of her willingness to leave her acting career behind and work with her husband to make their peoples’ lives better. Divita’s rendition of the song produced goose bumps and won resounding applause.

Throughout the rest of Act II, we see Eva planning a trip to Europe in order to bolster the image of the Peron presidency. She also starts a charitable foundation to help her beloved working-class citizens, but soon becomes so taken with her own fame that she falls victim to the lure of money and power. The saintly image, now tarnished, is lambasted by Che.

Sadly, Evita’s young, charismatic life is threatened by an advanced cancer, and she dies at the age of 33, leaving Peron and her people behind in deep mourning. Evita is a classic soap opera set to an exquisite score. The cast members embrace their roles fully.  Credit Director Igor Golden for eliciting believable performances from all – even the chorus members.

Aided by a beautiful set by Daniel Willis, amazing costumes by Kurt Alger, and excellent music direction (James Olmstead), choreography (Antoinette DiPietropolo) and lighting (Zach Blane), this production is nearly picture perfect.

Bruce Winnant is the proud President Juan Peron, whose dedication to his people and tender love for his Evita are presented beautifully.

One last shout out needs to go to young Ashley Perez Flanagan, who, in one brief solo, brought the house down. Flanagan plays the Peron mistress whom Evita dismisses on the night she moves in with Peron. Flanagan’s beautiful voice and tragic questioning, “Where will I go?” tugged at the heart strings of audience members. She definitely has a future!

NY Theatre Guide: Theatre Review: ‘Evita’ at The John W. Engeman Theater at Northport

Janine Divita as Eva Peron. Photo by Michael DeCristofaro.

The John W. Engeman Theater at Northport continues its 2014/15 season with the Tony Award winning musical Evita.

A powerful show from the haunting opening to the poignant finale. 

Evita follows the life of Eva Perόn, the First Lady of Argentina from 1946-1952.  Born poor and working-class, Eva clawed and climbed her way up the social ladder.  Though she initially started with good intentions for social reform, her ego and ambition grew until her ineffectiveness unfolded to its heartbreaking conclusion.  With music by Andrew Lloyd Webber and lyrics by Tim Rice, the score’s heavy reliance on sharps, flats and dissonance enhance the feeling of her struggling life.

An accomplished cast heightens the experience of any show.  Eva Perόn is played by Janine Divita with a remarkably convincing accent.  Her sharp and powerful voice supports the hard and stubborn personality of her character.  Bruce Winant superbly portrays Juan Perόn, military man and President of Argentina; his rich, full voice reaching impressive depths.  Ruben Flores’ wonderful voice rings out as the tango and milonga singer Agustin Magaldi.  Ashley Perez Flanagan was a joy to listen to as the Mistress.  Her sweet, clear voice soared over the audience with palpable emotion, and any future demonstrations of her talents would be most welcome.  Aaron C. Finely steals the show as Che, our guide through the musical who is part narrator and part Eva’s conscience.  Finely plays the bored/arrogant narrator perfectly.  His character’s all-knowing cynicism flows effortlessly with languid movement, apropos facial expressions and clear, pleasing vocals.

With direction by Igor Goldin, and scenic design by Daniel Willis, the use of the stage was astutely managed.  A clever scene of political musical chairs demonstrated Juan Perόn’s rise to power, while moving staircases and onstage costume changes deftly progressed the action.  Music Director James Olmstead and the band produced striking results from a challenging score.  Lighting by Zach Blane and costuming by Kurt Alger both aided in creating the atmosphere and mood of the show.

Evita may perhaps be best described as a political biography disguised as a musical.  While not happy by any means, it is a fascinating look at a short, bright life.  A powerful show from the haunting opening to the poignant finale.

Running Time: Approximately 2 ½ hours with one 15 minute intermission.

Advisory: Adult themes, scenes and language throughout.

Evita is playing at The John W. Engeman Theater at Northport, on Long Island until November 2nd, 2014. The theater is located at 250 Main Street, Northport NY.  For tickets, call the box office at (631) 261-2900 or click here.

BWW Reviews: An Enchanting EVITA at the Engeman

September 24, 2014 2:09 PM

The Engeman Theater has a hit with their vision of Evita.

As Northport’s John W. Engeman Theatre always does, they bring a touch of Broadway to Main Street and their current offering, the Tony winning musical Evita, is certainly no exception. The gorgeous Long Island venue executes an enchanting incarnation – running through November 1st – of the Tim Rice/Andrew Lloyd Webber classic superbly directed by Igor Goldin.

The tale focuses on the life of Argentine force-to-be-reckoned-with Eva Perón centering on her rise through the political ladder to her untimely death. Exquisitely portraying Eva is Janine Divita (Broadway: Grease, Anything Goes, et. al.). The story shows Eva over a period of eighteen years; from when she was fifteen until her death at age thirty three. I really could go on and on about her stunning voice, gripping speeches to her “public”, and wonderful stage presence, but I’m just going to say that you will remember Ms. Divita’s Eva for quite some time. Eva meets and marries Colonel Juan Perón portrayed strongly by Bruce Winant (Broadway: La Cage Aux Falls, Phantom of the Opera, et. al). Ms. Divita and Mr. Winant’s voices complemented each other well and were believable as a married couple.

Additional highlights of the stellar cast include Aaron C. Finley (Broadway: Rock of Ages, Allegiance) and Ashley Perez Flanagan. Mr. Finley, as Che, serves as the show’s narrator and the packed audience gives a rousing round of applause to the extremely talented and handsome young actor. His performances of “Oh What a Circus” and “High Flying, Adored”, the latter of which he sings with Ms. Divita, is particularly well received. And you will be mesmerized by Ms. Flanagan, who portrays the Mistress, as her voice soars on her emotional performance of “Another Suitcase in the Hall”.

Besides the magnificent cast, you will become captivated by some of the most beautiful music that was created by Mr. Rice and Mr. Lloyd Webber. To be included with the aforementioned songs, Ms. Divita gives an outstanding rendition of the iconic “Don’t Cry for Me, Argentina” and the entire company is powerful on “Montage” at the end of Act Two. This music is spectacularly performed with the accompaniment of the live orchestra headed up by Musical Director James Olmstead. Additionally, Daniel Willis’ set is fantastically highlighted by Zach Blane‘s lighting, and Craig Kaufman’s sound design. Kurt Alger’s costumes are also top notch – particularly Eva’s “Don’t Cry For Me, Argentina” wedding gown inspired dress.

And so, it is quite clear that Northport’s John W. Engeman Theatre has a hit with their vision of Evita. An inspired cast, beautiful music, and the stunning John W. Engeman Theater make for a delightful night of theatre.

Evita is presented by the John W. Engeman Theatre of Northport, Long Island, through November 2nd. By Tim Rice (Lyrics) & Adrew Lloyd Webber (Music), Directed by Igor Goldin, Scenic Design by Daniel Willis, Costume & Wig Design by Kurt Alger, Lighting Design by Zach Blane, Sound Design by Craig Kaufman, Assistant Direction and Fight Chorography by Trey Compton, Chorography by Antoniette DiPietropolo, Musical Direction by James Olmstead. For more information and to purchase tickets, please call 631-261-2900 or visit

Village Tattler: Evita Awaits You at Northport’s Engeman Theater

Janine Divita as Eva Peron in the musical production of Evita at John W. Engeman Theater. Photo by Michael DeCristofaro.

This production is a true example of Broadway on Main Street and a must-see for theater lovers of all ages.

The hauntingly beautiful musical production of Evita now awaits you at Northport’s John W. Engeman Theater. A packed opening night drew standing ovations for Janine Divita who plays Eva Perón, Bruce Winant who plays her husband and president of Argentina Juan Perón, and the magnetic Aaron C. Finley who plays Che. Evita is considered one of the most passionate and colorful musicals in theater history and Engeman’s production does not disappoint. The cast is so talented, with multiple Broadway credits, and this production is a true example of Broadway on Main Street and a must-see for theater lovers of all ages. Performances will run through November 2, 2014, on Thursdays at 8:00 pm, Fridays at 8:00 pm, Saturdays at 3:00 pm and 8:00 pm, and Sundays at 2:00 pm.

Some of the most beautiful songs in theater are in Evita, including the most well-known “Don’t Cry for Me, Argentina,” here sung by the incredibly talented Janine Divita as Eva Perón. Divita is simply divine as Eva Perón, playing the powerful First Lady of Argentina who was adored by the people but became a tragic figure of greed and ambition and then, poor health–she died from cancer at age 33 (just 8 years after meeting Juan Perón). Perón at the time of their meeting is an ambitious military colonel who makes his way up the Argentine political ladder. Other songs of note are “Another Suitcase in Another Hall,” sung by Juan Perón’s mistress who is played by the beautiful and talented Ashley Perez Flanagan, and “High Flying, Adored,” sung by Aaron Finely as Che and Divita as Eva. There is an eclectic range of music in the show with a combination of ballads such as “Another Suitcase” and “High Flying” and more Latin-influenced songs such as “Buenos Aires,” “And the Money Kept Rolling in (And Out),” and “On This Night of a Thousand Stars” sung by Ruben Flores as Magaldi and moving on to more rock opera songs, such as “Oh, What a Circus” and “Perón’s Latest Flame,” both performed by Finley as Che along with the ensemble.

With music by Andrew Lloyd Webber and lyrics by Tim Rice, Evita is produced by Richard T. Dolce, Engeman’s producing article director and features Janine Divita (Eva Perón); Aaron C. Finley (Che); Bruce Winant (Juan Perón); Ashley Perez Flanagan (Mistress); and Ruben Flores (Magaldi).

The story of Evita starts with Eva’s beginnings in the slums of Argentina (and her various lovers), told by a cynical Che who narrates the story. In “Oh What a Circus,” Che tells the story of the hysterical grief that gripped Argentina when Evita died. The story moves through Eva’s meeting with Juan Perón, “I’d Be Surprisingly Good For You.” This is followed by Eva tossing out Juan Perón’s mistress, throwing her clothes out the French doors while at the same time feeling sorry for her and giving her a fur coat, a true example of the character of Eva. Ashley Perez Flanagan as the Mistress sings a beautiful “Another Suitcase in Another Hall.”

We see Eva’s rise as a political leader in Argentina who is adored by the poor people, but is disregarded by the upper classes and the Argentine Army  (“Perón’s Latest Flame”). Perón is elected President in a sweeping victory in 1946, just two years after meeting Eva. Eva begins the Eva Perón Foundation to direct her charity work. Che narrates again the controversial charitable work, and possible money laundering in “And the Money Kept Rolling In (And Out).” Notes Che,”And little has changed for us peasants down here.”

Eva is determined to run for vice president despite her failing health (“Dice Are Rolling”) but has to renounce when she realizes that she is dying. She swears her eternal love to the people of Argentina in “Eva’s Final Broadcast.”

Janine Divita as Eva Perón and Aaron C. Finley as Che in Evita. Photo by Michael DeCristofaro.

Credits of this talented cast include: JANINE DIVITA (Eva) Broadway: GREASE, YOUNG FRANKENSTEIN, THE MYSTERY OF EDWIN DROOD, ANYTHING GOES; AARON C. FINLEY (Che) Broadway: ROCK OF AGES; BRUCE WINANT (Perón) Broadway: LA CAGE AUX FOLLES, CHICAGO, FIDDLER ON THE ROOF, RAGTIME, MISS SAIGON, MY FAVORITE YEAR; RUBEN FLORES (Magaldi) Broadway: IN THE HEIGHTS; ASHLEY PEREZ FLANAGAN (The Mistress) started at The Engeman Theater as a hostess when she was in high school and went on to perform on stage in The Engeman production of THE SOUND OF MUSIC in 2010. She has since gone on to a successful career as a performer being featured in Diane Paulus’s production of PROMETHEUS UNBOUND (A.R.T.) and ONCE ON THIS ISLAND (Enlightened Theatrics). Ashley is the daughter of NYS Senator John Flanagan.



The Design Team is DANIEL WILLIS (Scenic Design), KURT ALGER (Costume and Wig Design), ZACH BLANE (Lighting Design), CRAIG KAUFMAN (Sound Design), MEAGAN MILLER-McKEEVER (Props Design), MICHAEL CASSARA (Casting Director), TREY COMPTON (Assistant Director).

Tickets are $69 and available by calling (631) 261-2900, visiting, or stopping at the Engeman Theater Box Office, 250 Main Street, Northport.

Smithtown Matters: Theater Review – ‘EVITA’

Sunday, September 21, 2014 at 1:29AM

Theater Review “Evita

Produced by: The John W. Engeman Theater – Northport

Reviewed by: Jeb Ladouceur


It must have been a formidable challenge for Janine Divita to accept the title role in “Evita” at the Engeman Theater this fall. We make the observation, not because the Broadway-seasoned Ms. Divita is in any way unequal to the huge task (she’s more than capable) but for the simple reason that in Northport, of all places, anyone cast in the lead of this renowned show is bound to be compared to the proud old town’s favorite daughter, Patti LuPone.

With the possible exception of writer Jack Kerouac, it’s widely acknowledged that no other Northport celebrity involved in The Arts has garnered the international acclaim that Ms. LuPone has. And most of that recognition has accrued to the singer/actress because of her Tony Award winning work in the 1978 Broadway production of “Evita.” There, the musical ran for nearly four years—37th longest in history. Remarkably, it was nominated for 22 of theatre’s most prestigious awards (consider that the hugely successful “Hello Dolly” received only 13 such nominations). To put matters in further perspective, “Evita” gained no fewer than 11 Tony Award nods and won 7 of them; (decades earlier “My Fair Lady” won 6 of 10).

“Evita” is both inspiring and tragic in that it tells of Eva Peron’s unlikely rise from an Argentine slum, where she is the child of a single mother—to her career as an ambitious actress—and ultimately to her securing a place in the nation’s seat of power, the Presidential Palace. There, the once destitute girl who has become Argentina’s First Lady, wins the adoration of her people by displaying concern for the poor and disadvantaged, despite her own failing health. Eva’s inability to control her greed and ambition, however, lends an overriding element of Greek tragedy to the play, which nonetheless manages to work as a thoroughly absorbing, lyrical musical.

The multi-talented Ms. Divita is in good company among a cast of proven professionals, primarily in the person of ‘Che’ who serves effectively as the story’s narrator and pace-setter. Bruce Winant, playing Juan Peron, is the most widely traveled performer in the company, and his experience is evident. Winant is as silky-smooth as we expect the slick Argentine leader to be, and we get the impression that his very presence on stage is largely responsible for elevating the performances of his fellow actors.

Prominent among those accomplished players is Ruben Flores (Migaldi), whom many will recognize from ‘Law and Order’ though that is by no means chief among his many performing credits. They run the gamut from Shakespeare to “Beauty and the Beast” and attest to Flores’s obvious versatility. The inclusion of lovely Ashley Perez Flanagan, who plays Juan Peron’s mistress marvelously, should be an inspiration to all aspiring thespians who see her at the Engeman over the next six weeks. Ashley started her career as a hostess at JWE and has gone on to distinguish herself in more than a half dozen productions to date.

Credit director Igor Goldin for flawlessly guiding his charges in this musical which Patti LuPone claimed was the most unbearable experience of her theatrical life, stating that “The play was obviously written by a man who hates women. I screamed my way through the role of Eva Peron.” That said, Janine Divita and company give no hint of such distress. Indeed, everyone in this lush production contributes to another Engeman blockbuster that takes the often explosive Ms. LuPone’s early stomping grounds by storm.

Northport Daily News: Prepare to fall in love with ‘The Music Man’

April 2, 2014 at 7:30 pm by Elise Pearlman

The multiple award-winning musical, ‘The Music Man,’ opened at the John W. Engeman Theater last week.  Although more than 50 years have passed since its Broadway debut, the show has lost none of its magic, humor or ability to tug on our heartstrings.  Under the direction of Igor Goldin, the Engeman cast brings it all to fruition so beautifully and enthusiastically that they make it new again. Prepare to be bewitched, and to fall in love with the characters. You won’t want it to end.

Meredith Willson, who penned the book, music and lyrics for the show, was not only an extremely gifted composer, songwriter and playwright, but a man with a deep understanding of the dreams, hopes and wishes that are the province of the heart. The musical showcases his genius.

Carl Sagan once said that serendipity is the optimistic belief that there is something marvelous around the corner, something not yet discovered, yet magnificent. It is this feeling of hopeful anticipation that “Professor” Harold Hill, aka “The Music Man,” brings with him when he breezes into River City, Iowa.  Willson modeled River City after his hometown of Mason City, Iowa, a slice of small town America that he knew like the back of his hand.  Yet theatergoers will immediately be enchanted by Josh Zangen’s set which features a beautiful latticework-laced gazebo framed by trees is reminiscent of Northport Village Park.

The good professor is a smooth-talking con artist who has his act down to a science. Like Mr. Willson, he has an uncanny understanding of what makes people tick and he uses it to get the townsfolk  to fork over money for a children’s band. The only person immune to his charms and skeptical  about his motives is the comely but aloof town librarian, Marian Paroo, whom he’d actually like to get to know better.

Robert Gallagher, who previously played romantic leads in Engeman’s ‘South Pacific’ and ‘The Sound of Music,’ was born to play the title role of the traveling Pied Piper. He has a commanding presence, an astounding singing voice, and a great sense of comedic timing.  Kim Carson, who played opposite him in ‘South Pacific,’ stars as Marian Paroo. She has the voice of an angel and the face to match. Her rendition of the lovelorn lament, “Goodnight, My Someone” melted my heart.

The supporting cast assembled by Stephen DeAngelis is impeccable and audiences will be delighted as each one eventually takes his or her place in the spotlight. Ray DeMattis is wonderful as the verbally befuddled Mayor Shinn and Jennifer Tully, Engeman’s Artistic Administrator, is hilarious as his histrionic wife, Eulalie Mackecknie. Carlos Lopez, who plays Professor Hill’s wing man Marcellus Washburn, has a true knack for comedy, and really struts his stuff when he sings “Shipoopi.”

Winthrop Paroo,  an adorable boy whose lisp has rendered him painfully shy, was played by Jeffrey S. Kishinevskiy on the night that I saw the show. I predict great things for this little star who can really belt out a song.   Patti Mariano, who plays Marian’s very Irish, impulsively frank mother, garners a lot of laughs.  I loved the mellifluous crooning of the Barbershop Quartet made up of Richard Costa, Kenny Francoeur, Kevin Necciai and Kilty Reidy.

The show hits all the high notes in terms of the music. Director James Olmstead and his crew deliver the goods big time, making the unseen six piece pit band sound like a full piece orchestra.  With so many wonderful songs, it is hard to choose a favorite, but mine included “The Sadder-But-Wiser-Girl,” “Till There Was You,” and of course, the beloved classic, “Seventy-six Trombones.”

I heartily commend everyone involved with this production. Ryan Moller’s costumes are spectacular as is the hair and make-up design by Kurt Alger. You’ll see some of the fanciest footwork that ever graced the Engeman stage, thanks to Antoinette DiPietropolo’s fabulous choreography. Cory Pattak’s lighting augments the ambience.

‘The Music Man’ runs through May 18, but buy tickets early this family-friendly show could very well sell out! The Engeman Theater is located at 250 Main St., Northport Village. Tickets can be purchased at the theater’s box office, by calling (631) 261-2900 or by visiting

Times Beacon Record: Seventy-six trombones lead the Engeman in ‘The Music Man’

Published April 07, 2014 | 04:39 PM

Meredith Willson’s 1957 great hit “The Music Man” recently opened at the Engeman Theater in Northport. Set in 1912 in Willson’s hometown, called River City, Iowa, in the show, it chronicles the plans of a con man/traveling salesman to bilk the city out of thousands and skip. All of the above were neatly integrated in the production.

It had all of the things a musical comedy should have: variety, exquisitely performed choreography, impressive singing and an engaging plot. The armature of the production was Antoinette DiPietropolo’s choreography. Yes, there was Rob Gallagher as Harold Hill, the “Music Man,” whose singing and dancing were extraordinarily powerful as usual; yet without DiPietropolo’s terpsichorean talent there would have been a weak spark in the nucleus of the visual entertainment.

The Engeman has a wide stage, and every square centimeter was used. Every aspect of dance was put into play: classical ballet, interpretive, modern and more. Directing was the job of Igor Goldin who was confronted by a massive responsibility of blocking and interpretation. His resume, loaded as it is with many awards, stood him in good stead to take on “The Music Man.” His stage skills had eminent success in this show.

Backing all of these rhythms was James Olmstead directing on piano, Joe Boardman on trumpet (whose skill your scribe has praised previously for his ability in the very upper register), Frank Hall on trombone, Mark Gatz and Marni Harris on reeds and Josh Endlich on percussion. Endlich had alot of march-tempo effort, and he made it sound like a platoon of drummers.

Gallagher was undoubtedly the star. His stage presence alone, along with his sense of timing, while integrating all this with singing and dancing, put him on the apogee of which there was no perigee.

Kim Carson, her tall angular beauty enhancing her plangent voice, teamed up with Gallagher both in “Shipoopi” and individually on “Till There Was You” with penetrating effect. There was plenty of comedy with Mayor Shinn (Ray DeMattis) and his wife, Eulalie (Jennifer Collester-Tully). His mangling of the English language culminated in (to his wife) “Not one poop out of you!!” to which she responds, “He means peep!” Then there was his incomprehensible simile, “like a buttonhook in a waterbucket.”

Collester-Tully was particularly sharp as the foil … er, wife. The diminutive dynamite of Carlos Gomez as Marcellus was effective as the comic Leporello. Since the setting was 1912, a barbershop quartet was featured, consisting of Richard Costa, Kevin Necciai, Kilty Reidy and Kenny Francoeur. Their really close harmony stood beautifully in contradistinction to the production numbers and solos.

In a well-played child’s part, Shane Anthony McGlone sang “Gary Indiana,” showing great promise. That made-for-the-stage character, portly Burl Ives look-alike Doug Vandewinckel was the lecherous Charlie Cowell. All he needs to do is walk on stage and the character he is playing comes to immediate life.

The ensemble members responsible for all the kudos for dancing were: Larry A. Lozier Jr. (dance captain), Nathan Applegate, Tara Carbone, Karli Dinardo, Danielle Mia Deniz and Chris LeBeau.

The happy coalescence of talent is what made this show a hit. However, talent is not a finished product — it needs coordination, training, rehearsing and support. This is what the Engeman brings together; a host of expertise in the aesthetic dimension with sharp skills in directing, choreography, singing along with those unsung backups like Costume Coordinator Ryan Moller, sound design by Craig Kaufman and lighting design by Cory Pattak. The result: great theatah.

The John W. Engeman Theater, 250 Main St., Northport will present “The Music Man” through May 18. Tickets are $60 to $65. For more information, call 261-2900 or visit

Broadway World: BWW Reviews: The Engeman’s THE MUSIC MAN

April 3, 2014, by Melissa Giordano

All of the productions at Northport’s John W. Engeman Theatre are a special treat. Their current offering, Meredith Wilson’s The Music Man, is certainly no exception. The fantastic production, running through May 18th at the gorgeous Long Island venue, boasts a top notch cast who deliver Broadway caliber performances.

The musical’s story revolves around con man Harold Hill, portrayed delightfully by Rob Gallagher, who pretenses himself as a boy’s band organizer/leader. He sells band instruments, instruction books, and uniforms to the naive Iowa townsfolk, but plans to skip town with their money without giving any music lessons. Mr. Gallagher receives roaring applause particularly with his spirited renditions of “Trouble” and the iconic “76 Trombones”. Additionally, Mr. Gallagher has great chemistry with co-star Kim Carson who portrays prim librarian and piano teacher Marian Paroo.

Perceptive Marian sees right through Harold’s scheme and is initially stand-offish toward the “masher” – we’re in the year 1912 here, folks. However, as Harold begins to help her younger brother – Winthrop, portrayed adorably by Jeffrey Kishinevsky – overcome his lisp and social awkwardness, Marian begins to fall for Harold. Ms. Carson’s strong voice is ideal for the demanding score and makes it a point to interact with pretty much everyone on stage with her. Additionally, she also receives praise from the audience with her stunning performances of “My White Knight” and “Will I Ever Tell You”.

Carlos Lopez is also part of the Igor Goldin directed cast as Harold’s longtime friend Marcellus Washburn. Mr. Lopez was especially fantastic leading a lively performance of “Shipoopi” in Act Two with Mr. Gallagher and the cast. Special kudos also to Nathan Applegate, Richard Costa, Kenny Francaeur, Chris LaBeau, Larry A. Lozier, Jr., Kevin Necciai, Doug Vandewinckel, and Kilty Reidy for a rousing opening number of “Rock Island”. This is a tricky song; you can’t miss a beat in the number and they delivered brilliantly. The rest of the large, talented, enthusiastic cast moves well to Antoinette DiPietropolo’s fun choreography highlighted by the wonderful orchestra headed up by James Olmstead. Ryan Moller’s costumes are stunning as well with a definite throwback feel to them.

As so the Engeman certainly has another hit with The Music Man. Predictable? Perhaps, but this classic from the golden age of theatre is one every theatre enthusiast should see. The Engeman’s incarnation delivers a great cast, wonderfully executed numbers, and, frankly, a smile on your face as you leave the theatre.

The Music Man is presented by the John W. Engeman Theatre of Northport, Long Island, through May 18th. By Meredith Wilson, Directed by Igor Goldin, Scenic Design by Josh Zangen, Costumes by Ryan Moller, Lighting Design by Cory Pattak, Sound Design by Craig Kaufman, Hair & Make-Up by Kurt Alger, Casting by Stephen DeAngelis, Music Direction by James Olmstead, Choreography by Antoinette DiPietropolo, Stage Management by Naomi Anhorn. For more information and to purchase tickets, please call 631-261-2900 or visit

Photo by Michael DeCristofaro; Kim Carson and Rob Gallagher in the John W. Engeman Theatre’s The Music Man

New York Theatre Guide: Review, ‘The Music Man’

April 2, 2014 by Kristen Weyer

The John W. Engeman Theater at Northport presents Meredith Willson’s The Music Man. This beloved classic opened last weekend, and is playing through May 18, 2014. Full of comical characters, enchanting musical numbers, and lively, jovial dance sequences The Music Man is a delight for all ages.
The Music Man follows con-man Harold Hill (Rob Gallagher) as he plans to take in the parents of a small town, River City, Iowa. He promises that in only four weeks, he can transform their sons into a boy’s marching band; though naturally through the purchases of musical instruments, uniforms and instructional booklets. The only problem is Harold doesn’t know the difference between a piano and a piccolo. Despite his musical ignorance, Harold manages to turn the town on its head with his fast talking, and slippery ways. However, not everyone is so easily swayed to believe in Harold’s enticing vision. The town librarian, Marian Paroo (Kim Carson), is also the savvy local piano teacher, who has some serious doubts about the authenticity of Harold’s claims. Meanwhile, Mayor Shinn (Ray DeMattis) and the school board (Richard Costa, Kevin Necciai, Kilty Reidy, and Kenny Francoeur) continually hound after him for credentials, causing Harold to reach deeply into his bag of distracting and humorous tricks. Before Harold can skip town with his collected money, he realizes his flirtations with Marian have turned into something that might be worth staying for.
The quality of this production is wonderful. Every aspect, from the acting and costuming, to the set design, works together for a stunning performance. Many of the actors have performed on Broadway and other stages, and the quality of their performances is noticeable. Even the young, new actors have impressive abilities. Jeffrey Kishinevskiy, one of the boys who plays Winthrop Paroo, shone in his performance of “Gary, Indiana” with a pleasant, clear voice. Rob Gallagher showed tremendous vocal ability and control with his fast paced talk/singing throughout the performance, and the beautiful, clear soprano of Kim Carson was a pleasure to listen to.

‘The Music Man’ is a delight for all ages.

The teenage love story sub-plot, was an added enjoyment to the performance. The workman’s son, Tommy Djilas (Justin Schuman), is in love with the mayor’s daughter Zaneeta Shinn (Heidi Friese), but the mayor only sees a boy from the wrong side of the tracks. Take a peek at these two on the sides, even during the main action; they will put a smile on your face.
Marian’s spunky mother Mrs. Paroo (Patti Mariano) was a fantastic character. Her loveable portrayal, combined with humorous wishing for Marian to get married, and incredible Irish accent, made for a memorable performance. Ray DeMattis also deserves commendation on his performance as Mayor Shinn. The humorous, twisted lines were delivered to perfection, and the character’s frustration was palpable.
The six member pit orchestra, conducted by Music Director James Olmstead, provides all the music for the show with stunning success. From “Seventy-Six Trombone”s to “Till There Was You,” the composition comes across in such a way that you believe you are listening to a much larger orchestra. The School Board turned Barbershop Quartet, also benefited from Mr. Olmstead’s direction in impressive a cappella renditions of some of their songs.
A great show depends not only on the acting and singing, but also on the little details that make a show believable. The costumes were time period appropriate, down to the shoes and hair styles. Even minor characters had three costume changes. Different locations were portrayed with rolling set pieces, which also aided in changing the mood on the stage. The dance sequences were wonderful, full of intricate choreography, lively jumps and fast paced twirls. From the opening number to the closing scene, The Music Man will enchant all who attend.
Running Time: 2 ½ hours with a 20 minute intermission.
The Music Man is running at the John W. Engeman Theater at Northport from March 27, 2014 – May 18, 2014. Shows are Wednesdays – Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m., and Sundays at 2 p.m. and 7 p.m. Tickets are $65, and available at the box office, by phone (631) 261-2900, or online

NEWSDAY ‘Irving Berlin’s White Christmas’ review: Merry indeed

If you’re dreaming of a white Christmas, you could do worse than a Vermont ski lodge. But beware. Few things in life are as variable as “Love and the Weather,” as the song goes:

Unpredictable, irresponsible

Unbelievable, unreliable

Ever since the world began

Are Cupid and the weather man

Yet, as with any holiday musical, the final scene of “Irving Berlin’s White Christmas” — receiving a full-throated reincarnation at Northport’s Engeman Theater — is entirely predictable.

Merry merry rules.

In case you don’t recall the Bing Crosby movies — “Holiday Inn” (1942) and “White Christmas” (1954) — on which the show is based, Bob and Phil, Broadway song-and-dance stars and World War II veterans, wind up on a train to Vermont with a sister act hired for a ski-resort gig. In a coincidence possible only in romantic musicals, the inn is owned by the general who commanded the boys’ division in Europe.

Cautious-in-love Bob, sung by Aaron Ramey with a booming leading-man voice, and Betty, frosty as played by Kennedy Caughell except while singing her torch duet with Bob (“How Deep Is the Ocean”), are paired with ladies’ man Phil (Drew Humphrey) and flirty Judy (Darien Crago), who are hot to fox-trot. They make a nimbly in-tune leading dance couple. (James Olmstead’s brassy orchestra accompanies Humphrey’s choreography.)

The boys conspire to save the general’s deeply unprofitable inn by throwing a Broadway-scale Christmas show and recruiting guys from the old division to fill the seats. But a misunderstanding involving the inn’s busybody concierge (Kathryn Kendall as a former Ethel Merman protege) sends Betty fleeing from Bob’s arms the morning after she was driven into them by a sweet “Count Your Blessings” lullaby he sang to the general’s granddaughter. Adorable Susan is played alternately by Katie Dolce and Claire Levasseur, both 10, while Drew Taylor soldiers on as the grandpa general.

Whenever the plot improbabilities threaten to derail “White Christmas” from its inevitable sing-along — you know the lyrics, don’t you? — director Mark Adam Rampmeyer cuts briskly to a flashy dance number, distracting us with color-coordinated, mid-20th century costumes of Ryan Moller’s design. Jonathan Collins’ rustic set brings to mind a Vermont barn when it isn’t disguised with sequined curtains for the Manhattan scenes.

Partying like it’s 1954 may not sound like a hoot, but at the Engeman, nostalgia brings a smile, and maybe even a tear.


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