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Since Juan and Eva Peron came to power in 1946, the Argentine state has, because of political pressures from both business and labor, taken on the role of subsidizing a wide range of economic activities...

Author: By Andrew J. Bates, | Title: Can Argentina Make It Back? | 9/19/1989 | See Source »

This was all-too-painfully evident on Bush's trip to Europe two weeks ago, which brought to mind the lyrics of the song, "The Rainbow Tour," in the musical Evita. As Evita and President Peron are in the midst of a whirlwind tour of Europe, the people speak out at home...

Author: By Michael Stankiewicz, | Title: Tales of a Wimp President | 8/4/1989 | See Source »

...Riders. But whose truth is it anyway? Every film -- or every biography or news report or memory -- is distorted, if only by one's perceptions. To create art is to pour fact into form; and sometimes the form shapes the facts. William Randolph Hearst never said "Rosebud," and Evita Peron didn't sing pop, and Richard III was probably a swell guy, no matter how Shakespeare libeled him. This is what artists do: shape ideas and grudges and emotions into words and sounds and pictures. They see "historical accuracy" as a creature of ideological fashion. Artists take the long view...

Author: /time Magazine | Title: Show Business: Fire This Time | 1/9/1989 | See Source »

...rock opera chronicles the meteoric rise of Argentina's Eva Peron, who began with "every disadvantage you need if you're gonna succeed./No money, no class, no father." Before she died at 33, Eva had risen to prominence as an actress, married military leader Juan Peron, helped him become Argentina's president and achieved near-sainthood in the eyes of the working class, known as the descamisados or "shirtless ones...

Author: By Brooke A. Masters, | Title: Viva Evita! | 11/18/1988 | See Source »

...worship Eva Peron inspires is eerily reminiscent of fascism--the crowd chants "Pe-ron" over and over again--and Rebecca Shannon's excellent choreography heightens the resemblance by having chorus members thrust their arms out in rhythmic salutes. Shannon also makes good use of the Mainstage's ample space, as she balances different groups off one another. In "Peron's Latest Flame," for example, the aristocrats step lightly and delicately, tilting their cigarette holders in disgust, while the military men stomp across the stage swinging their arms...

Author: By Brooke A. Masters, | Title: Viva Evita! | 11/18/1988 | See Source »

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