musical every year for the entire school so we had an introduction to musicals so early on and our parents were supportive. I continued to perform in theatre throughout high school and college. After that I kept getting jobs including opera roles. I love it. I get to meet amazing people. Like opera, musical theatre is very grand with so many diverse elements”. On this national tour Johnstone has seen his share
of blooper moments, “In the last city one of the local rig ladies wandered out on to the stage right in the middle of the scene. Then in Chicago someone got popped in the face during a dance number and their lip was bleeding all over the stage. The show must go on right? But everyone was dancing and also trying to figure out where all the blood was coming from.” Johnstone gets into character during the first song
tion’s first large-scale female political party. In 1951, Eva announced her candidacy for the office
of Vice President of Argentina, receiving great sup- port from the Perónist political base, low-income and working class Argentines, referred to as Descamisa- dos or “shirtless ones.” But like any heroine, she had her enemies and op- position from the nation’s military and bourgeoisie. That, coupled with her declining health, ultimately forced her to withdraw her candidacy. In 1952, shortly before her death from cancer at the age of 33, Eva was given the title of “Spiritual Leader of the Nation” by the Argentine Congress. Eva Perón was given a state funeral, an honor generally reserved for heads of state. In a fascinating twist, Perón was not buried for 20 years, due to the disappearance of her body shortly after her funeral and it did not reappear for 17 years. The story of Evita—now couple that with Webber’s
incredible music and a hit Broadway show is born. In the Broadway touring production ofEvita, in San
Diego Tuesday, November 12 through Sunday, November 17, Christopher Johnstone stars as Mal- galdi and he (like me) fell in love withEvita in his early adolescence, “I was 13, Evita was the first recording I owned. I was obsessed with it and could sing through the entire musical and I dreamed of being in this show. I hadn’t seen it on stage until I auditioned for this Broadway production. Sometimes I pinch myself because it totally happened,” recalls Johnstone. He is also excited to be returning to Southern Cali-
fornia, “I have a lot of connection to San Diego and L.A. because my family moved to Southern California after I graduated from high school. I used to work a lot with Lyric Opera and I love to surf,” he continued. Johnstone grew up in Iowa and garnered a very special musical experience there thanks to some amazing teachers. He and his brothers grew up believing it was cool to do both music and sports. “One of our elementary school teachers wrote a
of the show—the requiem—when all the mourners have on black clothing and black veils. “At the top of the show there is an intimate embrace between Eva and Magaldi that sets up the whole night for me,” says Johnstone. Then later in the show there is a great moment that
is all his. Just as Evita is flirting with Perón at the ben- efit concert, Magaldi performs his act on stage. As he comes off stage, Eva says, “Your act hasn’t changed much,” and Magaldi nods toward Perón retorting, “Neither has yours.” Ouch! Johnstone notes, “Magaldi is an interesting role, kind of a douche-bag and yet very important. He is Eva’s meal ticket to Buenos Aires and ultimately he allows her to begin her journey. He is also the first man whom she manipulates with her sexuality.” When asked what is next for him, Johnstone says,
“I always try to have things in the works. I am head- ing for the Houston Symphony Orchestra for a bit and then back to Broadway. Whatever the next big thing might be. I am open to doing more TV.” But left to his own dreams, Johnstone would choose to play Phantom in Phantom of the Opera or Billy Bigalow in Carousel. But for right now, Johnstone is enjoying his time on
this very unique production, “This is the third genera- tion of Evita. They got everything right. All the kinks are worked out and everything is exactly as they wanted. Every detail is in place. I believe this is the best production ofEvita that has ever been done; the costume, lighting, the dance elements, the music. This production is stunning and the lighting is a star in the show as well. The whole story is easy to envi- sion because the set is architecturally strong with windows and archways that have a heavy Argentine influence. And the singers are perfectly cast, so get ready for a great night.”
Evita is playing at the San Diego Civic Theatre in Downtown San Diego from Tuesday, November 12 through Sunday, Novem- ber 17. For tickets and more ifnormation call 619.564.3000 or go
tobroadwaysd.com.
NOVEMBER 2013 | RAGE monthly 19
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80