Evita

I have great admiration for this small company who took up the challenge of presenting such a difficult, dramatic piece of musical theatre celebrating the 40th anniversary of Evita’s West End debut.Their venue, the Strawberry Barn, has no stage but this was cleverly built to form four sides of a rectangle with the orchestra positioned in the space in the middle. This worked extremely well and was used creatively. Excellent use of back projection changed the many scenes and was enhanced by effective lighting.

The score for Evita is incredibly complex and was handled admirably by the cast and a very competent, well controlled orchestra. With virtually no dialogue the success of the show depends greatly on having three strong leads and the company was most fortunate in having a Che, Eva and Peron who were most impressive in their roles.

Che (Paul Lyall) is rarely off the stage and he immediately engaged with the audience in his opening ‘Oh What A Circus’. With a fabulous voice and dynamic personality he guided us through the story perfectly. ‘High Flying Adored’ was a show stopper.

The role of Eva is immense. Martine McCluskie is to be congratulated on the way she interpreted this most demanding part. She had a real understanding of the character portraying the ambitious, manipulative and often vulnerable sides of Eva Peron as she journeys through her short life. Her seductive side came across well in ‘I’d Be Surprisingly Good For You’ and contrasted with the memorable ‘Don’t Cry For Me Argentina’ where she lived the moment with the crowd chanting adorations around her - and what a fabulous dress! Her final broadcast and ‘Montage’ lying on the floor exuded emotion and had the audience captivated.

Peron (Alasdair Morrison) was a very believable character who conveyed his feelings for Eva admirably and had a wondeful bass voice. His Mistress (Carly McCart) gave a thoroughly engaging performance ‘Another Suitcase in Another Hall’ expressing her heartache. Eva’s first lover Magaldi (Hugh Pumphrey) brought a little light heartedness ‘On This Night of a Thousand Stars’.

The small ensemble of 14 adults and 8 children did a fine job as the crowd expressing their grief in the opening requiem and final scene and their adoration of Evita and joy in ‘A New Argentina.’ Young Kirsten Irwin sang sweetly and confidently and has the potential to be a star of the future.

This was a highly emotive production with many memorable and tear jerking moments.This very ambitious choice of show was well directed and neatly staged resulting in a most enjoyable production which was well received by the audience.

Very well done indeed Dunbar Lyric. You should be very proud of your achievement.

 

 

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