GALA’s ‘Momia’ tells the afterlife of an icon

The subject of death might not spring readily to mind if you’re thinking of writing a musical. But it works well for Gustavo Ott and Mariano Vales, who wrote “Momia en el closet: The Return of Eva Per—on.”

When the story begins, the wife of Argentina’s dictator is already dead. The question that propels the musical arises: what to do with her body? Her husband orders that she be embalmed so she can live in the people’s memory for eternity. But a coup ends Per—on’s rule, Evita’s corpse is passed around for years, eventually being sent to Italy, then to Spain to join Pero—n.

Ott and Vales have packed a tremendous amount of history into “Momia,” which faithfully reproduces what happened in Argentina from 1952 until 1976, when Pero—n is dead, his second wife ousted from power and Evita finally laid to rest. But the convoluted history is just an excuse to examine the real subject of “Momia”: the notion that Eva — in death as in life — created a central point in that whirling vortex of history.

Mariana Fernandez’s set design, including a moving mummy-case and whirling painted screens, creates a sense of the chaos that ruled in Argentina before, during and after Per—n’s reign.

Director Mariano Caligaris neatly controls the musical’s sprawling scope, using a cast of nine to suggest masses of people. Only the extraordinary Laura Conforte plays a single role, Eva. A four-man chorus performs as stylists, soldiers, political groups. The immensely versatile Diego Mariani appears as the depraved Col. Moori and Per—n’s whacky personal assistant, L—pez Rega.

The doctor charged with making Eva as beautiful in death as she was in life is portrayed by the imposing Martin Ruiz; Belen Oyala-Rebaza is engaging as Peron’s second wife. Antonio Soto plays Per—on.

A seven-person orchestra and 21-person chorus offstage deliver Vales’ arresting music, which is alternatively harsh and gentle. Together with Carina Losano’s brilliant choreography using salsas, milongas and tangos, the music gives “Momia” its earthy, zesty feel, ensuring that the musical comes off as anything but a staged history lesson.