When a theater company produces “Evita,” there had better be someone who can play the title role.

The Bill Mutimer Summer Theatre Series at Northampton Community College had not one, but two actresses to play the role in “Evita,” June 25-July 6, Lipkin Theatre, on NCC’s Bethlehem Township campus.

Olivia Hudson-Fuentes and Abby Arza alternated in the role of Eva Perón in the NCC production.

Olivia Hudson-Fuentes portrayed Eva Perón in the June 29 performance seen for this review.

The title of the musical, “Evita,” with music by Andrew Lloyd Webber and lyrics by Tim Rice, is the nickname of Eva Perón, wife of Argentine President Juan Perón and First Lady of Argentina, June 1946 until her death in July 1952.

“Evita” debuted on Broadway in 1979, winning a Tony Award for Best Musical, and was adapted for a 1996 film starring Madonna in the title role.

The musical mythologizes Eva Perón, the circumstances of her life and the impact of the regime of Juan Perón (played impressively by Daniel L. Melo in the NCC production).

Che (Matias De La Flor, who was a standout in the NCC production with powerful vocals, no more so than for “Oh What A Circus”) is a fictionalized Che Guevara.

In narration and songs, Che provides the musical with counterpoint to the self-aggrandizement of Eva Perón and the legacy of the Perónist movement and Peronism.

That legacy is somewhat notorious and sometimes forgotten. The Argentine military overthrew the government of Isabel Perón, third wife and widow of Juan Perón, in 1976. An estimated 30,000 were “disappeared” by the dictatorship during what became known as Argentina’s “Dirty War” (1976-1983).

“Evita” is especially fascinating from the standpoint of musical theater. The musical opens with the death of Eva Perón. This makes the theater-goer want to know more about the legend of Eva Perón. Throughout the NCC production, archival black and white film clips and photographs of Eva Perón, her life and times were projected above the stage.

The musical is mostly sung-through with 12 songs in Act One and 16 songs in Act Two. Among the standouts in Act One were “On This Night Of A Thousand Stars” and “A New Argentina.”

The Act Two opening scene in the NCC production was stunning. This is the balcony scene where Eva Perón stands confidently in the lovely white gown, raises her arms gracefully and belts out “Don’t Cry For Me Argentina.” Olivia Hudson-Fuentes recreated the scene magnificently.

The NCC production was directed with a steady hand by Gustavo Wons, who also choreographed the talented some 22-member ensemble, with assistant choreographer Jenna Williamson. Costumer was Brenda McGuire. Wig Mistress was Heather Sheldon.

The show’s music director and conductor of the nine-piece ensemble was Lucille DeMasi Kincaid, who also played keyboards and brought an energy and enthusiasm to the often challenging score.

The clever set by Brett Oliveira placed the musicians under the balcony, and behind a wall, which provided a balance for music and vocals.

Eva Perón was a complex and enigmatic personality, one of the first among women to merge politics with fashion, entertainment and celebrity.

The Disappeared apparently are long gone. Eva Perón remains. “Evita” guarantees that.