"EVITA," Rodgers Memorial Theatre, through Oct. 30 (801-298-1302); running time: 2 hours (one intermission)

CENTERVILLE — In the musical theater cannon, there are shows, there are big shows and there are monsters — musicals so broad in scope and requiring such musical prowess, they're rarely done.

In this case, "Evita" is the monster, the Goliath, and Rodgers Memorial Theatre is David, the underdog.

The trick with a community theater tackling a show so massive is that it tends not to do justice to the show or the performers.

But ambition is what Eva Peron was all about, so let's get to it.

"Evita" is the Andrew Lloyd Webber/Tim Rice musical based on the true story of Eva Peron, her rise to fame and her death from cancer at the age of 33.

The musical is through-sung (there are only a handful of spoken lines) and it takes place in numerous locations.

Kudos to Rodgers for incorporating a live musical ensemble — though it wasn't always 100 percent, the small group, led by music director/pianist Peter Steenblik, got through the difficult material.

Another bravo to Charyol Wilcox (and her seamstresses) who managed to costume a very large cast, in period-appropriate costumes while establishing Eva's flare for fashion.

The leads do a fine job. Erin Royall Carlson as Evita (double cast with Holly Jo Samuelson) handles Webber's difficult-to-sing score with a more lyrical approach rather than the traditional Broadway belters like Patti LuPone — which may make the most sense since Webber's scores aren't known for being easy on the vocalists. (During the original Broadway run, several actresses alternated playing the role, it's so demanding). Carlson did "Eva's Final Broadcast" particularly well.

Though David Weekes (double cast with Jeremy Flygare) looks little like Argentinian revolutionary Che, he's convincing and hit all the notes. And Joe Paur (double cast with Chuck Gilmore) held his own as Eva's husband, Juan Peron.

Alane Schofield, having the unenviable task of directing, did a good job moving the people through the tiny space, but she made a few odd choices — most notably, the use of another actress (Kimberly Roderick) to portray the younger Eva. Perhaps it was to facilitate a costume change, but it was confusing and unnecessary.

Most of the pitfalls can be blamed on biting off a bit more than the theater can chew. But there are a few things that can be fixed.

Maggie Bailey's light design had a few sketchy moments. Che was often standing in the dark (unless those were missed light cues) and during the pivotal moment when Evita beautifully holds up her arms singing "Don't cry for me Argentina," her hands cast shadows directly on her face, which lessened the impact.

The volume is always a struggle in the intimate Rodgers, but for this piece — with everything sung — it is very difficult to understand the soloists because the ensemble, even though they're singing quietly, is still too loud.

But in the words of Eva herself, "I have one thing that counts, and that is my heart," which is one thing Rodgers' production has plenty of — heart.

I'm not sure if it's enough to fell Goliath, but it's a good start.

Sensitivity rating: veiled sexual references.

e-mail: ehansen@desnews.com