Ramin Karimloo was born in Iran. He recently starred as Che in Evita (Tokyo) and Gleb in Anastasia on Broadway. Theater: White Rabbit Red Rabbit (NYC), Evita (Che, Vancouver Opera), The Secret Garden (Archibald Craven), Prince of Broadway (Tokyo/Osaka), Les Misérables (Valjean, Tony nomination), The Phantom of the Opera (Phantom, West End), Love Never Dies (Phantom, Olivier nomination), Miss Saigon (Chris), Sunset Boulevard (Joe Gillis), Pirates of Penzance. TV/Film: “Blue Bloods” (CBS), “The Spa” (Sky), “Life’s Too Short” (BBC), Phantom of the Opera and Les Miserables 25th Anniversary (Universal).
Andrew is currently wowing audiences as King George III in Hamilton/Chicago. He brought down the house as the onstage standby for Andy Karl in Groundhog Day. Andrew starred in Found at PTC. Starred as Sonny in FOX’s Emmy winning “Grease Live!”. Broadway: Rock of Ages, American Idiot, Cry-Baby, Glory Days, and High Fidelity. Off-Broadway: Brooklynite, Found, and Altar Boyz. He will also be appearing as Reed in the new Amazon series “Z: The Beginning of Everything.”
Bianca Marroquín is a Mexican musical theatre and television actress known as the first Mexican actress to have a starring role on Broadway and one of the youngest actresses to play Roxie Hart in a Broadway production of Chicago. Bianca began her stage career in Mexico City in productions of Mary Poppins, Beauty and the Beast, Rent, The Vagina Monologues, The Phantom of the Opera and Chicago. Other Broadway credits include In the Heights and The Pajama Game.
Natalie recently appeared in Benny and Joon at the Old Globe Theater in San Diego. Broadway: Madame Defarge in A Tale Of Two Cities , Eponine in Les Miserables, Sally in A Christmas Carol, La Bruja in The Yellow Brick Road, Ginger in Zombie Prom, Maria in The Audience, Flora in Magpie.
National Tours: Camila in In The Heights, Mary Magdalene in Jesus Christ Superstar, Eva Peron in the 20th Anniversary Tour of Evita (Jeff Award Nomination) Grizabella in CATS, and Rosalia in West Side Story (Japan).
Eliseo has just finished two years starring as Fajardo, Gloria Estefan's father in Broadway's On Your Feet. Other Broadway credits include Leap of Faith, In The Heights, Linda Eder On Broadway and Hair. Off-Broadway: IN THE HEIGHTS, GODSPELL and A NEW BRAIN. Regional: Zorro (Alliance) and Little Miss Sunshine (La Jolla).
Andrea is starring as Jane Eyre at the Cleveland Musical Theater this summer. She recently thrilled audiences around the country as Sally Bowles in the Cabaret National Tour.
Broadway: Indecent; performer, Cabaret ( Frenchie, Gorilla, u/s Sally Bowles), Once, Rent. Regional: Zorro (Alliance Theatre), A Civil War Christmas (Baltimore Center Stage), A Christmas Carol (McCarter Theatre), Tarzan (North Shore Theatre), Venice (Center Theatre Group/Kansas City Rep), High School Musical (St. Louis MUNY), Sound of Music and Big River (Syracuse Stage), Thoroughly Modern Millie, Peter Pan, and Miss Saigon (Merry-Go-Round Playhouse). Readings: Casanova Returns, Freckle-Face Strawberry.
is a Peruvian film, television and stage actor, singer-songwriter and dancer. In his country has starred in the musicals Jesucristo Superstar, Cabaret, Rent and Amor Sin Barreras (West Side Story). Zunino debuted on Broadway, starring as Billy Flynn in Chicago, in the Ambassador Theatre (New York).
Broadway: Pretty Woman, On Your Feet, Sunday in the Park with George, West Side Story (Rosalia), Women on the Verge of a Nervous Breakdown (Cristina), Ghost (Mrs. Santiago), Spider-Man Turn Off the Dark. Off-Broadway: Getting My Act Together (Cheryl), Little Miss Sunshine (Miss California).
A powerful and important story that needs to be told.
Finally, a musical about something. Something important!
The score to ZAPATA rocks! An EVITA for the 21st century.
A brilliant new musical with huge international potential!
“Most of the important elements are in place for “Zapata!,” a promising and highly original musical by Peter and Ana Edwards. The titular Mexican revolutionary (1877–1919) is a dashing romantic evergreen who’s ripe for musicalization. And here Zapata gets the leading man he deserves in Enrique Acevedo, whose matinee-idol magnetism is matched by his strong, soaring vocals. The show’s leading lady, Maria Eberline, who plays Zapata’s girlfriend and eventual wife, Josefa, is Acevedo’s vocal equal. Their duets, especially on “I Can’t Marry You” and “I Will Live All My Life With Your Love,” offer synergistically more than the sum of their considerable individual talents. The entire cast of 17 is uniformly excellent in its acting, singing, and dancing. Their fine musicianship, backed by an exuberant onstage band of eight, led by musical director Kenneth Gartman, and generally solid production values—especially Asa Benally’s colorful costumes—give director Elizabeth Lucas a strong head start on a welcome unity of purpose and approach rarely seen in a production so young.”
“Zapata! The Musical, now playing at the Pershing Square Signature Center, is a love letter to revered Mexican revolutionary Emiliano Zapata,written by husband-and-wife team Ana and Peter Edwards. Taking place in the early 1900s, during the Mexican Revolution, the show dramatizes Zapata’s fight for his people’s right to keep their ancestral lands. The committed cast is headed by Enrique Acevedo, who perfectly evokes the gentle strength, compassion, and determination that made Zapata loved in his own time and still today. The musical also focuses on the revolutionary’s rocky courtship and marriage to his beloved Josefa (Maria Eberline) and his complicated relationship with his fiery brother Eufemio (Andrew Call), who is more violent and power-hungry than Zapata. Zapata’s mother-in-law, Senora Espejo, also plays a vital role as an anchor in the family and community, and is made memorable by Natalie Toro’s strong turn. The show aspires to be a “spectacle,” and largely succeeds, with its stylized battle scenes, romantic Mariachi music, power ballads, elaborate traditional dances, wedding celebrations, and a very moving procession of the dead (the choreography and musical staging are by Luis Salgado). A particularly effective choice is the use of a dancer who acts as a kind of dark specter evoking the native spirit during emotionally-charged scenes. A contemporary framing works at the conclusion of Zapata! The Musical, driving home the connection between Zapata’s fight for his land then and people’s fight for the causes that matter to them today.”
“Revolution continues to ferment in musical theatre, at least as engaging subject matter. First came Les Miz, then A Tale of Two Cities, and now Zapata! the Musical, a promising new show which just completed its world premiere at the Pershing Square Signature Center. Inspired by the life of Emiliano Zapata (1877–1919), hero of the Mexican revolution, the two-hour show offers a fight for justice, a love story, colorful costumes, lively dancing and songs that capture the soul of each scene. Director Elizabeth Lucas and choreographer Luis Salgado had to work hard to fit it all on the off-Broadway stage. Even with no scenery except projections and a few props, the 17-member cast, plus the larger-than life story, seemed crowded in the space. I like small musicals, but this isn’t one of them. It needs a Broadway theatre and I hope it gets one. The strong (for the most part) cast is headed by Enrique Acevedo (third from left in photo) as Zapata, with standout performances by Maria Eberline (second from left) as Josefa, his girlfriend and then wife, and Natalie Toro (left) as his mother-in-law, Senora Espejo. (Zapata! is Toro’s second recent theatrical revolution; several years ago she took command of a Broadway stage as Madame DeFarge in A Tale of Two Cities.) I found Zapata’s story compelling…(Interestingly, this is at least the second time Zapata has found his way into musical theatre. At the end of Ragtime, as Edgar is recounting what has happened to his family members, he mentions that Younger Brother fled south to join “the great peasant revolutionary Emiliano Zapata.”) Zapata! features music and lyrics by Peter Edwards and a book by Peter Edwards and Ana Edwards. The songs are rousing or festive, depending on the scene, and Emiliano and Josefa have a couple of lovely duets. The show is off to a good start with this production, and I really do hope to be seeing it again on Broadway.”
“Ana and Peter Edwards’ book is highly original, and Peter Edwards’ music and lyrics are singable, and well-sung by the cast. Unlike a dry history text, this presentation gives us a very romantic portrait of Zapata. Always more passionate about protecting his people’s land than in gaining political power, he comes across here as a paradoxical figure, with many personas: murderer, idealist, lover, father, amigo, and revolutionary.In a program note, co-authors Ana and Peter Edwards describe Zapata! as a “romantic musical combining the poetic lyricism of Mexican Mariachi with the edgy social consciousness of Rage Against the Machine.” As directed by Elizabeth Lucas, the entire physical production complements the authors’ vision.”
“As I sat in the theater waiting for the lights to dim, surrounded by other members of the dance company, I was worried that I was going to be underwhelmed. I wasn’t. I was impressed.It was a compelling and inspiring musical. There were a couple of little kinks that needed to be worked out on the technical side, and there some dance sequences that could have been a smidgen tighter. But those little details were overshadowed by the incredible performances of the main characters: Enrique Acevedo as Emiliano, Maria Eberline as his wife Josefa, Andrew Call as Eufemio (Zapata’s brother), and Natalie Toro as Josefa’s mother Espejo. Toro was especially impressive with her passionate and powerful voice. I was moved beyond words when she sang “The Endless Night”, capturing the beautiful ranchera style, near the end of the first act. I didn’t think anything could top Acevedo singing “I’d Rather Die A Thousand Deaths” a few scenes earlier, which left me awe-struck, but Toro’s “The Endless Night” was utterly riveting.The rest of the cast was delightful, as well. And I thoroughly enjoyed the dancing! The ladies utilized their skirts, giving the impression of folklorico; there were elements of several different regions of Mexico, rather than focusing on one area so that more aspects of Mexican culture would be represented, most noticeably during the wedding scene.One element I found interesting was the role of the Curandera, who was dressed and danced in a style that invoked the ancient Aztecs. At first, I wasn’t sure what exactly her role was, but it became clear to me during the intermission when my companions explained that a Curandera is a healer. The Curandera appeared during many pivotal scenes, including the transitions from present to past and back again. She was present when the story began with Eufemio, who was in a desperate situation. It was the Curandera who brought Eufemio healing through the story of Zapata, as he learned to “fight for what he loves, not against what he hates”.I lost myself in the story and the way it was told through the acting, songs, and dance. Zapata! The Musical blended Mexican culture with musical theater. They actually seemed to work quite well together. It was thrilling to see the culture I love portrayed on the stage as I had never seen it before. Overall it was a great show!! The cast, crew, and everyone involved with Zapata! The Musical did an amazing job! I just wish I could buy the soundtrack! Excellent, excellent job!”