Shereen Pimentel stars as the title character in the Andrew Lloyd Webber musical 'Evita,' at Shakespeare Theatre Company’s Sidney Harman Hall through October 15. Photo by DJ Corey Photography

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Evita, at the Shakespeare Theatre Company, opens with a beautiful image of a dress — aloft, pristine and sparkling — in the center of a spare, dim stage at the death of Eva Duarte Perón.

Over the course of this absorbing, engrossing production, the complex, stylish heroine fills her dress — indeed, more than one — as she becomes first lady of Argentina. The musical, a run of the recent revival production at the Boston American Repertory Theater, will be at Sidney Harman Hall through October 15.

Director Sammi Cannold draws out elements in the musical that emphasize the stark disparity between the 15-year-old Evita and the older men who seduce her.

In a series of white dresses, actress Shereen Pimentel embodies Evita first as a child who is vulnerable, angry, hopeful and delightfully ambitious: “Put me down for a lifetime of success!”

She seamlessly becomes a single-minded young woman whose approach to the world is shaped by her early liaisons. She focuses on those with the means to move her into more secure, reputable, comfortable positions as an actress on stage, film and radio.

Juan Perón, played by Caesar Samayoa, seems as close as any wannabe dictator gets to a slacker. Next to Pimentel’s driven Eva, he’s not the sharpest; however, when they marry, he’s sharp enough to enjoy how Eva’s popularity boosts his own. He doesn’t have much opportunity to sing, so pay attention to his revealing “She’s a Diamond.”

Eva soon becomes first lady, rising neon-lit and larger than life in her white gown. Pimentel projects a conflicted expression — at once startled, satisfied and triumphant — as the cheers of her people wash over her.

The catch in her voice as Pimentel owns the show’s signature song reveals a longing: Eva continues to be committed to improving life for her descamisados, “the people without shirts,” but not on a systemic level, as the narrator points out.

Instead, her foundation carries out one-to-one philanthropy that feeds her need for adoration more than her people’s needs. Is she self-serving or aware of the demands of her role, as she chases her image in the enthralling “Rainbow High”? “They need to adore me, so Christian Dior me… It’s vital you sell me, so Machiavell me.”

Pimentel’s beautiful voice brings layers of emotional resonance, especially to “Don’t Cry for Me, Argentina,” “I’d Be Surprisingly Good for You” and “Lament.”

Narrator as Greek chorus

The narrator Che, a dazzling Omar Lopez-Cepero, paces among characters who do not see him, hovering at the edge of the stage’s framed box.

But we cannot ignore him. Lest the audience forget Perón is the wife of a dictator, he mocks her pursuit of image in “And the Money Kept Rolling In.”

Alongside Pimentel, he also stands out in his comment on the goal-oriented pursuit of relationships in “Good Night and Thank You.” He grounds the audiences with the clarity of his singing, whereas other lyrics in the musical were hard to make out.

Other highlights include the young displaced mistress Naomi Serrano’s “Another Suitcase in Another Hall,” as Eva looks on with discomfort, and the Army General’s musical chairs game, played for high stakes in the “Art of the Possible.”

Overall, the choreography of Emily Maltby and Valeria Solomonoff is excellent, especially scenes with the Army, which gave off a totalitarian, yet Monty Python vibe.

Although the newly added tangos are beautiful, they distracted from Eva and Juan’s first meeting, where Pimentel’s voice and body language were the stars of the scene.

The stage is beautifully minimalist, with neon lighting by Nick Solyom that frames the stage and moveable archways. Changes in color express the excitement of the big city, but contrast with the gray costuming and underscore the political boundaries enclosing the characters.

How a cast clad in gray can be simultaneously oppressed, oppressive and highly stylish is a mystery solved by associate costume designer Joseph Shrope.

Of course, there are flaws. The stage is cloaked in thousands of heavy-petaled lavender flowers, which resemble mounds of gray stuffing or ashes (an interesting image) more than flowers.

In addition, much of the music — written by Andrew Lloyd Webber — continues to replay in one’s head for days. The emphasis on brassy horns, martial staccato and sustained high sections for the chorus and heroine — meant to convey the poverty, political chaos and urgent dictatorial grip — can be harsh on the ear.

Moments of dissonance aside, this is a heartfelt and stirring production that will stay with you.

Evita is on stage at STC’s Sidney Harman Hall, 610 F St. NW, Washington, D.C. The performance lasts two hours with a 15-minute intermission.

Ticket prices start at $35. People 60 and older can receive a 10% ticket discount; 35% off for Wednesday noon matinees. Call or visit the box office at (202) 547-1122 to purchase.

Correction: The print version of this story referred to a game of Duck-Duck-Goose. In fact, the game re-enacted in this show is musical chairs.