Arts & Entertainment
Blond ambition
National ‘Evita’ touring production sturdy, serviceable
Caroline Bowman in ‘Evita.’ (Photo by Richard Termine; courtesy Kennedy Center)
‘Evita’
Through Oct. 19
The John F. Kennedy Center for the Performing Arts
2700 F St. NW
$39-125
Kennedy-center.org
Since its London world premiere in 1978 and subsequent global success, Andrew Lloyd Weber’s “Evita” has been produced ad infinitum.
And whether it’s Broadway’s Patti LuPone or Madonna on the big screen, the woman in the title role ultimately determines each version’s success. Playing Argentina’s controversial first lady who slept her way to power and position and died young isn’t easy — the part is vocally challenging and requires more than a modicum of charisma.
In the national tour of the 2012 Broadway revival now at the Kennedy Center Opera House, Caroline Bowman takes on the part. As the young Eva Duarte, Bowman misses the grit and energy of the provincial teenage dancehall girl — she might as well be playing the naïve ingénue in a comedy of manners. But it’s her turn as the slightly older and blonder Eva in which Bowman excels, skillfully conveying the outsized ambition and complexities churning behind Eva’s calculated façade.
In fact, neither Bowman’s performance nor the entire production staged by Michael Grandage really take off until Eva bleaches her hair.
Told in flashbacks, the sung-through pop opera begins and ends with Eva’s funeral. Young Eva and the musical fable’s narrator Che (Max Quinlan) emerge from a shadowy gathering of mourners and the story unfolds. In fast moving scenes, Eva climbs from poor, illegitimately born provincial girl to radio actress to girlfriend and later wife of military officer and politico Juan Perón (Sean MacLaughlin). Yes, in pursuit of fame and fortune she changes men like underwear but all that stops with Perón. In him, Eva finds her ticket to the big time.
Despised by the bourgeoisie and the military for her low birth and undue influence her husband, Eva finds an adoring power base in the working classes. “I am you,” she sings to them. As first lady, she gains popularity by funding numerous charities.
Her ascent is tracked musically with “Buenos Aires,” “High Flying, Adored” and, most memorably “Don’t Cry for Me Argentina,” which she sings to the crowds from the presidential residence’s balcony. Diamond like in a shimmering strapless ball gown, Eva’s beatification is complete. Not one to miss an opportunity, Perón puts his wife’s charisma to use and sends her on a European goodwill tour. Her Rainbow tour is cut short by the cancer that will soon kill her at 33 in 1952.
Set and costume designer Christopher Oram envisions a gloomy Buenos Aires of soaring colonnades, tall arched windows and heavy doors. His costumes are painstakingly period (‘30s and ‘40s). Most striking are Eva’s balcony scene gown and Dior-inspired traveling suits.
Throughout the show, choreographer Rob Ashford cleverly employs tango in scenes involving mourners, lovers and friends. He even partners soldiers in a more combative variation of the dance.
Lloyd Weber’s score is gorgeously sung by the three principals and Christopher Johnstone as Magaldi, the schmaltzy tango singer who reluctantly brings teenage Eva to Buenos Aires.
Without his trademark beret, Quinlan’s Che is less politicized. He possesses the irony but lacks the fire of a revolutionary. As quietly ambitious Perón, McLaughlin (whom local audiences will remember from Signature Theatre) is terrific. He’s a seductive presence and makes a believable love match for Bowman’s Eva.
Unfortunately an otherwise strong and energetic effort is marred by some audio problems. On press night, Tim Rice’s lyrics were difficult to decipher. Those familiar with the songbook fared best.
Still, this “Evita” is a production well worth seeing.
Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.
(Washington Blade photos by Michael Key)
Arts & Entertainment
Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week
Pride on the Pier officially launches Pride Week in D.C.
The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.
Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.
“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”
Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.
Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.
Event Details:
📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026
⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP
Theater
National tour of ‘Gatsby’ comes to National Theatre
Out actor Edward Staudenmayer talks playing the show’s gangster
‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com
Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.
Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.
It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”
Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).
While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.
WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?
EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].
There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.
BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.
STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].
BLADE: When did the 1925 novel first surface on your radar?
STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.
Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.
BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?
STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.
Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.
BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?
STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.
BLADE: Have you had to do that in your career?
STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.
It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.
BLADE: What was your coming of age like?
STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.
BLADE: Did he live to see your success in theater?
STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.
BLADE: Looking ahead, is there a part you’d especially like to play?
STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.
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Comings & Goings
