Thespians are driven by dreams and a deep desire to reach for the artistic stars. Such dreams are laudable and form the basis for all theatre. When successful, the result is a magical journey for both the cast and audience. When the reach exceeds the grasp, however, the consequences can be brutal.

The Stagebrush Theatre’s decision to produce a musical with the overwhelming requirements of Evita was a bold move. More grand opera than mere musical, Evita demands outstanding voices, crisp choreography and bold characterizations to be successful. Alas, this Stagebrush production succeeds in failing on every level imaginable.

No one, of course, expects community theatre to be held to the same standards as professional productions, but some aspects – such as having the actors know their lines – are a given, and when Alex Gonzalez (as an aging Che) mumbled his way through his first set of lyrics, the stage was set for disaster. Exposing each and every aspect of the theatrical train wreck that followed would cross the line between criticism and cruelty, but suffice it to say that the cast and crew were in way over their heads.

Enthusiasm and dedication, especially in a community theatre production, can cover a multitude of sins, but even this was absent. Performers often appeared to be “walking through” the scenes, rarely relating to one another and conveying an attitude of “We don’t know what we’re doing, we don’t know why we’re really here and we really wish this was over.” At times, they actually appeared to be annoyed at the whole process, and this negative energy only served to further distance the audience from the characters.

Technical aspects of the production fared no better. Lighting cues were often mistimed or failed to actually illuminate the actors. At the same time, the feedback-laden, recorded music track simultaneously overwhelmed the actors’ poorly miked voices while apparently remaining completely inaudible to the performers themselves, resulting in an ongoing game of “Where’s the Downbeat?” as the cast abandoned their characterizations in a desperate-yet-fruitless search for musical footing.

In the midst of the mayhem, however, two cast members managed to rise above the fray and put in excellent performances in roles that could easily be overlooked. As Juan Peron’s mistress, Kenlynn Shields demonstrated a lovely, rich voice and created a complete, thee-dimensional character that drew the audience in from the moment she appeared onstage. As the cabaret singer Magaldi, Jeff Walker precisely walked the tightrope between self-absorbed vocalist and Eva Peron’s first spurred lover, never allowing his character to venture into caricature and always appearing sincere and true to the moment. As the performance progressed, I kept wishing there was a sub-plot that featured these two, fine performers.

In the end, of course, the ultimate responsibility for this production falls squarely on the shoulders of Executive Director Jack Pauly, who not only directed the show but also played the role of Juan Peron. Perhaps it was the daunting task of serving as producer, director and performer that resulted in the failure of Evita. Perhaps it is due to a series of behind-the-scenes factors, hidden from the audience’s eyes and known only to Stagebrush insiders. Whatever the final verdict turns out to be, though, it is the responsibility of Pauly and the Stagebrush team to remedy the situation. Not to do so risks not only individual productions such as Evita, but also the integrity of the theatre as a whole. Reaching for the stars is one thing. Falling flat on your face is quite another.