Clearly, sound problem takes an edge off 'evita'

Tim Rice’s lyrics are muddied far too often in Long Beach Civic Light Opera’s production of the Webber/Rice “Evita.” Is it because of imprecision or imbalance in Steven Smith’s musical

direction or William A. Hennigh’s sound design? Or is it the fault of the acoustics in the gigantic Terrace Theatre? All I know is that I’ve heard much clearer shows, usually directed by

Smith, in this same hall--last summer’s “Annie,” for example. Whatever the cause, the strain of trying to decipher the words isn’t much fun. The aural sludge is especially thick in the

up-tempo choral numbers. “And the Money Kept Rolling In,” which supposedly relates the disastrous consequences of Eva Peron’s rise, is almost a total loss. Visually, John H. Lowe’s staging

is faithful to Harold Prince’s original. And two of the leads--Florence Lacey’s hard-edged Eva and Tim Bowman’s frenetic Che--re-create performances seen at the Ahmanson in 1984. The other

lead, Robert Alton, endows Juan Peron with a strong, foreboding voice and with a long yet pudgy face that demonstrates why he had to rely on Eva for star quality. With these resources, it

might have been a fine “Evita.” Let’s hope the LBCLO gets its audio department in order (or leases a smaller theater) before next fall, when it presents the area premiere of the delicate and

difficult “Sunday in the Park With George.” “Evita” continues at 300 E. Ocean Blvd., Long Beach, Wednesdays through Saturdays at 8:30 p.m., with 2:30 p.m. performances Saturdays and Sundays

and next Wednesday, through May 18; (213) 436-3661 or (714) 534-7723. ‘VILLAGE WOOING’ Described by its author, George Bernard Shaw, as “a comediettina for two voices in three

conversations,” “Village Wooing” is a surprisingly tender-hearted tribute to the chemistry of love. Albert Ihde’s staging at Ensemble Studio Theatre glimmers more than it sparkles, yet it’s

a pleasure to see any revival at all of this witty 1933 chamber piece. Although Eugenia Bostwick initially seems much too brash as a village shop girl who has set her sights on a flinty

travel writer, soon we learn that her character is, in fact, brash down to her bones. Bostwick’s performance still might be profitably toned down here and there and her pronunciation

sharpened, but generally her bead on this woman is accurate. The target of her matrimonial designs (Raymond Singer) talks circles around his pursuer but lacks her strength of will. Singer

handles the verbiage with aplomb yet also suggests, through gesture and tone, the man’s vulnerability. Performances are at 1089 N. Oxford Ave. on Saturdays at 8 p.m., Sundays at 5 and 7

p.m., through May 18; (213) 466-2916. ‘PVT. WARS’ The version of James McLure’s “Pvt. Wars” at the Skylight is the original one-act instead of the two-act seen at the Zephyr two years ago.

This portrait of three wounded veterans who linger in the hospital, playing games and postponing their return to civilian life, works well in this form. In fact, because its characters are

literally going nowhere, one wonders why McLure would want to expand it. At the center of Justin Lord’s staging is Tom Bate as the relatively sensible Southerner; his unmannered manner kept

me watching and wondering what was going on inside him. Philip Coccioletti hits all the obvious notes as the jangly Italian kid who wants to wear a kilt. Clay Crosby is a shade too fey as

the aristocratic Natwick. Three performances remain: tonight, Saturday and Sunday at 5:30 p.m. at 1816 N. Vermont Ave.; (213) 874-3678. ‘PUTTING IT TOGETHER’ Admission is free, and the title

is “Putting It Together,” not “Put Together,” for good reason--this little piece at Actors Alley is extremely unfinished. It’s barely one step up from watching a typical hour in acting

class. Ten actors go through warm-up exercises, then take turns telling pieces of overlapping stories that seldom add up to anything worth sitting through. The first group of stories was

inspired by the set, a barn interior designed for another show, “Night Breath.” Not surprisingly, the results sound secondhand. The next set of stories apparently was derived from actual

experiences of Jordan Charney’s actors, but these are ho-hummers too. A press release informs critics that all of this has to do “with an individual’s search for self-acceptance.” How

wonderful for the actors if this show helps them accept themselves; now would they mind doing something for the audience? Performances are at 4334 Van Nuys Blvd., Mondays through Wednesdays

at 8 p.m., ending May 21; (818) 986-7440. MORE TO READ