EVITA

Having given an instant response for this show as ‘Magnificent’! It is probably unnecessary to expand on that response, except to add, ‘in all departments’ ! However, to satisfy any curiosity and to provide details for archives etc…Read on…

Setting the scene we had a well researched opening sequence of original screen footage from the earliest records of Che and Evita, with Peron, at a concert in Buenos Aires. This black and white backdrop set the scene for the haunting delivery of ‘Requiem’ by the Ensemble followed by Che (Chris Moore), his commanding performance and deep melancholic tones resonating the atmosphere with ‘Oh What a Circus’, bringing a certain pathos to the piece. A strong and empathetic narration with a captivating presence throughout.

Then introducing Augustin Magaldi (Chris Tanton), a very talented newcomer, Eva’s First ‘proper’ lover, with a fine rendition of ‘Night of a Thousand Stars’, leading into a full scale ‘Eva Beware of the City’, featuring the Family and Ensemble. This was a truly moving first segment...then more to come...

You could almost smell the atmosphere of the City and emotion of it’s population, as the superb Evita (Polly Blowers) captivating and enticing, takes centre stage, singing about ‘her’ City, as with the Ensemble she sings ‘Buenos Aires’. Then with a touch of lingering sadness, but no regrets, we had ‘Goodnight and Thank You’ as she bids farewell to her past and turns her attentions to Juan Peron (John Marjoram) as her convincing, soon to be, lover. In a well matched relationship, and against all odds, the bond between them exhibited the necessary chemistry, as he shows his truly felt affection (love) for Eva which is never in doubt throughout. This pair excelled and gave a truly magical performance of intrigue and pathos and more than a touch of politics!. There was of course a Mistress (Emma-Jayne Cullen), who moved us with ‘Another Suitcase Another Hall’...but she was history, and no contest or threat there for Eva and her Peron!

It is without doubt the involvement of the Ensemble, used to good effect in their many guises, that add so much to the overall cohesion of this piece. They were the ‘glue’ bonding the superb performances of the Principals, and such is the depth of talent available to the Players, that there is never a question of, “I’m only in the chorus!”. Great awareness, concentration and many costume changes throughout, (excellent costumes), add an empathetic band to accompany the many evocative songs which go together to make this show special...and that is before you mention the one we all know...Again a lovely rendition of ‘Don’t Cry For me Argentina’, from Eva and the Ensemble at the opening of Act Two. The show (it is quite short), moves swiftly on, dealing with Eva’s achievements, especially suffrage for women, but we also had time for a cameo Children's song, ‘Santa Evita’, and the Military chorus looked every inch a ‘gaggle’ of Argentinian top brass Colonels. So many songs to savour!

The unusual finale, and the whole sequence leading to Eva’s premature death, brought a tear to the eye as both Eva and Peron showed that despite everything, this really was a love story...pass the tissues, there were many ‘damp’ eyes in the audience. Great show and I return to my own view, I know shared by audiences as they left the Theatre...one word...‘Magnificent’, (In all Departments!).

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