Evita

 It is easy to forget that “Evita” began as a rock opera concept album back in 1976. It did not see the light of day as a stage musical for another two years. In this respect it was following in the steps of “Jesus Christ – Superstar”.  I have always felt that despite the efforts of far more talented practitioners than me, the switch from one concept, purely aural, to another, purely visual, is not a comfortable one. I say this to make it clear that I believe this presents challenges to societies getting to grips with “Evita”. “Another Suitcase In Another Hall” is a prime example of a great song, (a top twenty hit no less in its own right) that comes across on the concept album successfully yet packs no emotional impact in the stage version whatsoever. This is not because performers sing it badly or do not attempt to emote, it is purely because we do not care a jot what happens to the young mistress of Peron as we are not introduced to her as a character. Other challenges abound. Because rock opera contains no book, (there are exceptions fans of 70s prog rock will tell me), the story is told entirely in song  - a la opera. Therefore, without the advantages of record producers sitting in their technologically filled studios the onus passes to the performers to ensure every single word is heard. Clarity of enunciation and volume assisted by costume and gesture are the tools to be utilised to overcome this potential hurdle. It is a big ask.

The costumes thanks to Regina Arkwrigh (if I have missed a “t” I am following what is printed in the programme) were a delight. The programme itself was striking and beautifully presented packed full of interesting information about Eva and her times. Cast and crew photos are always welcomed too.

The somewhat strange, certainly remarkable, story of Eva Duarte’s meteoric rise in Argentine society is well known. If it wasn’t known in 1976 as soon as the opera emerged, then everyone has got in on the act since then as it were.

Bacup Royal Court Theatre Group produced a gusty ambitious rendition. However, there were moments when some of the Principals failed to make it clear what was being said. Likewise, some of the higher notes appeared to be beyond their reach. Director Rich Brennand was fortunate to have the services of the splendid Jay Broadhurst as Che. Is Che really supposed to be Che Guevara or is he just a friend? Che in Argentina is used in the same way as we might use mate or chum.  Elan and verve were just two of the words I use to describe Jay’s performance. His is a big role tasked with keeping us informed as to what is going on. The “singing book” one might say. Jay acquitted this responsibility very well.

If Che presents a challenge the tortured role of the unfortunate Evita has even more to contend with. Despite an occasional tendency to wobble on the high notes Jenny-may O’Reilly drew her to us. We were genuinely interested in how she manages to progress from poverty to great wealth. Sometimes Eva’s real-life actions agitate against our sympathy however so it essential for the actress to convince us that Evita’s love of the people was truly close to her heart and one of her main driving forces. Jenny-may had clearly researched the character and created a real larger than life performance that dominated the stage, as of course it is supposed to do.

 Millie Hall moved her dancers around the stage with style. The chorus numbers were energetic and infectious. Each of the dancers brought their own special interpretations. I think it was Anne Fielder who impressed me most. She possesses a natural sense of rhythm and that enviable ability to add that extra little bit of swagger to her performance.  Full marks to everyone.

Oliver Peck as matinee idol Magaldi clearly savoured his fabulous rendition of “On This Night Of A Thousand Stars”. Well so did we, Oliver. Yours was a cameo performance of distinction.  When actors have the chance to shine offered to them on a plate it is the truly excellent players that grasp it with both hands!

 I was not convinced there were enough musicians in the band. Although well played the score needed a touch more punch to complement effectively and harmoniously with the actors.

There were a few small issues that troubled me about the staging. Why was it that some of the soldiers dressed in their smart khaki uniforms wore ties and others did not? Are we to conclude that Peron ran a sloppily dressed army? At times too the sight lines could have been paid more attention to for those persons sitting on the extremities. And, the old bugbear, actors, both ensemble and principals, did not always find the cleverly positioned lighting pools. None the less many congratulations to both Rob Hames and his team and Nick Daye and Andrew Holden for first class technical support.

Many of the audience were on their feet at the conclusion of the show and thoroughly enjoyed what they had seem. This is always the benchmark.

 (You do not need to worry too much about picky reviewers’ opinions.)

Let me say I was immensely impressed by the theatre and the absolute conviction and commitment of the volunteers that I met. The story of your theatre, particularly over the last 3 years, is astounding. I take my hat of to you and stand in awe of your dedication. I look forward to visiting again soon.

 

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