Eva Duarte de Peròn (mezzo soprano/belter, E3 – G5) – Eva is the lead role of the show, and is very rarely offstage. We see her from the age of 15 through her death at 33. One of the trickiest aspects of portraying Eva is striking a good balance between her many aspects: the beautiful, charismatic speaker whose charm engendered the near-worship of a nation; the illegitimate child whose resentment and anger against the middle class curdled into bitter, vindictive hatred; and, most importantly, the human being – Eva the villain and Eva the great orator are compelling, big characters, but it is very easy to lose the real human being in the caricature. Her admirers thought she was an angel, her detractors a demon, but this was a person with real emotions and fears. Don’t lose that in the bombast.
Those auditioning for Eva should bring their own prepared song, but should also prepare the following vocal side and monologue for initial auditions.
If called back, auditioners for Eva will be asked to sing the following very complex song/scene with Peròn. If you are interested in this role, it may be in your best interest to have this prepared in the event you are called back. This is a very complex piece, but do not worry too much about performing it perfectly – the aim of having Eva and Peròn sing this at callbacks is to provide an opportunity for them to act opposite each other. Concentrate on knowing the piece well enough to act it well – we’ll follow along if your timing isn’t exactly right.
Ernesto “Che” Guevara (tenor – A#2-A#4)– Che serves as the narrator and Greek chorus of the show. He was originally conceived as just a “guy on the street” – Tim Rice had recently learned that the revolutionary Che Guevara was Argentine and had been a young adult in the Peròn regime, but, other than a few lines hinting here and there, he wasn’t specifically intended to be Guevara. When Harold Prince brought the show to Broadway, he was very firm that Guevara be used as a model for the character. Later productions, including the movie, have made him much more the anonymous observer. Our production is a little bit of both – he is most definitely Che Guevara, but as he narrates Eva’s life, especially in the beginning, he drops in as various characters – a waiter, a master of ceremonies, a gaucho – before fully becoming Che Guevara.
Representing both the voices of dissent to Perònism and Argentina itself, Che starts the show lightly mocking, albeit with an edge, frequently serving as a way to inject comic relief and satire into the proceedings. As the show progresses and he witnesses the Peròns’ autocratic tactics, he gets physically beaten and bloodied, reflecting the abuse of Argentina on his body, and his “humor” becomes darker and harder, until by the end it is nothing but acid and broken glass.
Those auditioning for Che should bring their own prepared song, and also prepare the following two monologues, showing the two different sides of Che. The first, a narration towards the beginning of the show, is a court jester-like poke at the Argentine aristocracy watching a polo match, noting that there really isn’t all that much difference between the Argentine team and the English team, since the Argentine team was educated at an expensive boarding school in England. The second is towards the end of the show, as he recounts a litany of the ways he feels the Peròns have ravaged Argentina, and is pure, barely contained rage, a furious young man talking himself into an explosion. We need to see both the playful jester and the angry revolutionary.
Juan Peròn (baritone – A2 – F#4) – The charismatic military man who studied mountain warfare in Italy during the reign of Mussolini — and may have taken a few notes on dictatorship while he was there — who eventually rose to the Presidency, married Eva, and founded a political movement that is still going in Argentina. Together with Eva, they formed a cult of personality that netted them enormous support from the working class – their “descamisados” (shirtless ones – basically, people whose work didn’t involve suit jackets). There can be no real question that Peròn was an immensely talented politician, but the show, being focused on Eva, doesn’t necessarily provide as much material for him. As with all powerful couples, there are questions about how much of their love was real, and how much was an arrangement between two people who realized how useful they could be to each other. I think that there is a little bit of both – the show is well served by bringing humanity to what could otherwise become caricatures, and, especially in Peròn’s case, there seems to be some evidence that he was truly enchanted by Eva, possibly to the point of obsession, as it is very possible that he is the person who had her body embalmed with glycerine to be “displayed forever, no less than she deserved.”
Peròn auditioners only need to bring their own prepared song to initial auditions, but, if called back, will be asked to sing/perform the following very complex song/scene with Eva. If you are interested in this role, it may be in your best interest to have this prepared in the event you are called back. This is a very complex piece, but do not worry too much about performing it perfectly – the aim of having Eva and Peròn sing this at callbacks is to provide an opportunity for them to act opposite each other. Concentrate on knowing the piece well enough to act it well – we’ll follow along if your timing isn’t exactly right.
Agustín Magaldi (tenor – C3-G4) – A tango singer who spends the night with Eva in her hometown Junín, and who is later hectored by Eva and her family into taking her with him to Buenos Aires, and who is quickly disposed of as she begins her climb. His portrayal in the show is a bit comical, maybe not quite a full caricature of a skeevy lounge singer hitting on a young girl, but somewhere on that spectrum. This doesn’t really line up with the actual Magaldi, as there are no records of him performing in Junín around the time he would have met Eva, and he died several years before the charity concert that the show later has them meet at.
Auditioners interested in the role of Magaldi can bring their own prepared song and/or the vocal side below of Magaldi’s song “Night of a Thousand Stars” (measures 1-34). If you are able to play the guitar and accompany yourself – for either your prepared song or side – we would love to see that and will consider using that skill in the show.
Peròn’s mistress (soprano – A3-E5) – Immediately prior to his relationship with Eva, Peròn was frequently seen in the company of a very young woman that he often introduced as his daughter, until he was finally forced to admit that she was his mistress. For the purposes of the show, we are looking for a young lady that reads approximately fifteen or sixteen. There is no explicit sexual activity involved in this role – we see her in a negligee or nightgown in Peròn’s bedroom, where Eva comes in and throws her out on the street in a trenchcoat, she sings her song, and then she goes offstage with another man and it is strongly implied she will have a similar relationship with him. Parents of minors who might be interested in this role need to be aware that, although there is no explicit activity, there will need to be some discussion with the actor about the character’s relationship with Peròn and the man she exits with at the end of the song.
The mistress does not need to bring anything to initial auditions other than her prepared song (less than one minute).
One of the most exciting things about this show is that every single role, whether a soloist or not, is based on a person who actually lived. Ensemble members will portray members of Eva’s family, the Generals and politicians who preceded Peròn in the Presidency, members of the aristocracy and the military, and the descamisados who believed in Eva up to the end and beyond. There are books and articles and documentaries galore about these individuals, whether they are specific historical figures or nameless Argentines of various classes and professions. There is a lot of depth to mine here, and we will absolutely spend a lot of time delving into the backstories and motivations of every role.
Actors auditioning only for ensemble just need to bring their own prepared song (up to a minute) to initial auditions.
The children’s chorus is mainly in the song “Santa Evita”, but they will also take part in the introduction (“Requiem for Evita”) and “And the Money Kept Rolling In (And Out)”, as well as throughout other scenes in the show as members of “family groups”.
For the children’s audition, children 12 and under will audition as a group during the first hour of auditions on Saturday, March 16th at 2:00 PM. They will be taught the section of “Santa Evita” below at auditions, they will get to sing it together, and then individually. If your child is uncomfortable with the piece, we will also allow them to sing a small (less than a minute) song of their own preparation. Please note, there isn’t a time slot available on the audition forms, please sign up for a “waitlist” slot.
For children and teens over 12, they can audition with a scheduled time slot and their own prepared song like the adults, and be considered for both ensemble and children’s chorus.