Evita

CAODS – seventy years young this year and what a way to celebrate – with the incredible Evita. Staged as always at the New Theatre Royal in Lincoln. This could all have gone terribly wrong. What a hugely difficult musical to stage – a ‘sung through’ show, a Lloyd Webber masterpiece with intricate music, its haunting songs seared in the consciousness of a nation, if not the world. But this was to be a choice for CAODS that would cement its position as a hugely respected and loved piece of Lincoln’s history, its present and future. Janie Smith, the Director, placed the story central to the whole production. And the master story teller, the man who held the whole show together, right from the start was Che, played, simply superbly by David Warman – in his debut performance on stage, having previously played trumpet in the pit and progressed to Musical Direction. And, if this wasn’t enough, as a little bird told me, only joining the cast after the main music rehearsals were over. And he gave a tour de force portrayal of the character who spoke to us, the audience directly, presenting his arguments and challenging us all to question what happened. To be challenged and, yes, to be conflicted by it all too. Just as Janie intended from her show and achieved completely. David, in his, oh so hard to pull off, but so effective way, made it all so relaxed, so easy to follow. And his diction was superb, vital when telling a complex story. I know it’s a bit obvious that we, the audience, want to hear every word of a story unfolding, but many productions seem to overlook this basic necessity. If anyone wanted to witness faultless diction, they could do no better than this. And David never slipped up – I heard every word. And full marks too to Karyn Andrews for sound design.  I especially appreciated the roar of the captivated crowds, as Eva fever gripped the nation. A story needs a setting and the stage design, by Neil Martin-Lilley, doing away with the wings and so greatly expanding the acting space was inspired – providing a wonderful opportunity for the 70 strong cast to appear on stage, often all at the same time, so much through the show. Well done to the whole stage production team. There was nowhere for anyone to hide and it was obvious that Janie’s early workshops with the cast payed off as everyone was totally playing their part throughout, including the impressive younger members of the cast. On the night I was there five year old Melody Richardson stole all our hearts. Often in a review, the supporting company are mentioned at the end. But everyone in this production of Evita was so vital, I deliberately haven’t done that. I didn’t spot one single weak link. And everyone acted their age – making it all so true to life. Even Woody the dog seemed to have been swept along with the show. At the celebratory gathering afterwards he even joined in the applause with an excited woof or three.
The imaginative use of the space, especially by Choreographer Hannah Simmons and Movement Director Adam Slepowronski was really effective as was the multi layered lighting by Bradley Caldwell, particularly in ensemble scenes. From the death of Eva at the start we are transported back to Eva’s early days and her meeting with Magaldi, the infamous tango singer who says ‘I never meet members of the public, they’d tear me apart.’ ‘I know their feeling’ adds Che mischievously. But we know what he means. Alan Trevor found the humour in the part, egged on by the over the top swoons of the local ladies whenever he burst into his trademark song, ‘On This Night Of A Thousand Stars’. Great acting and hairstyle. I must make a special mention of the hairstyling, especially that for Eva. It was superb, reflecting so clearly her rise to fame and fortune. And as for the costuming, with 13 changes for Eva alone and a cast of 70, James Easter and his whole team did a wonderful job with great attention to period detail, so important particularly for the fashion conscious deva Eva. I know that detailed research went into the whole project. Eva’s story soon progressed to Buenos Aires. I loved the ‘Goodnight and Thank You’ number as she slept her way to the top of Argentinian society. And simultaneously the political shenanigans, played out in a deadly game of musical chairs, seemed somehow very relevant in our own troubled political times. Well done Janie for timing the show to coincide with our own general election campaigning! There was some powerful male chorus work here too, so good to see and hear. Peron’s entrance was great. Matt Brian’s rich baritone voice was the perfect foil to Eva’s. I enjoyed every single moment Matt spent on stage. Matt and Helen (Eva) were perfectly matched vocally in ‘I’d be Surprisingly Good For You’. The poor chap didn’t stand a chance as she totally and convincingly seduced him. And she didn’t hang about in evicting his mistress from his home. Emma Wighton’s sweet and comparatively innocent performance of ‘Another Suitcase’ contrasted so sharply with Eva’s ruthlessness that was really coming to the fore. I loved the group of the ‘well to do’ who complained about Eva’s rising power. They were a tightly knitted opposition, literally very tightly choreographed. I especially felt for the lady who had to hold a parasol aloft throughout at exactly the same angle. The military, also united in their initial opposition, were also effectively tightly placed on stage. An inspired scene. But its Eva of course who gives Peron the strength and backing to carry on, upwards of course, bringing the people with him. Act Two starts with Peron becoming President and Eva now First Lady. There’s adulation for Peron, but even more for Eva. And what an entrance. What a dress. And what a performance of the song we’d all been waiting for, ‘Don’t Cry for Me Argentina’. Centre stage. No frills. No fancy effects. Just Helen. The vocal challenges of the part must have deterred all but the most fearless. Helen Evans made the part of Eva her own. Her acting was superb as, during this act she seemed to age before our eyes. And we saw her health beginning to fail and so later fail completely. It was utterly convincing. No mean feat to age from her teens to 33 in two hours. And to die of a terrible disease. Behind the beauty we see in Eva during her song to the people, we also see her strength , her ruthlessness and, yes, her hardness. She didn’t get to there she is now by being nice. Her hair is now swept back as if to accentuate this. Che’s ‘High Flying Abroad’ was superb as Eva’s fame spread around the world. But as he adds, ‘don’t look down, it’s a long, long way to fall.’ The ‘dream’ sequence with Che and Eva was beautifully staged, with a clever use of the mirror on the dressing table especially.
With reactions abroad a little mixed, to say the least and questions about Eva’s charity work cleverly put by Che, Eva’s darker side emerges, so well portrayed by Helen. Peron makes a welcome return to the story but only to help facilitate the downfall of Eva physically. ‘You don’t politically exist’ he has to tell her. Helen’s playing of Eva’s collapse and her ‘Final Broadcast’ was so emotional as she says she ‘wants to be the woman who brings her people to the heart of Peron.’ The music of course is the thing that carries the story to its unescapable conclusion. David Williams and his 18 piece orchestra, cleverly positioned off stage and not in the pit (I doubt they would have fitted anyway) worked so hard and produced such an amazing soundtrack to Eva’s life. It was a pleasure to meet the team afterwards and share in their 70th anniversary celebrations. I know how hard everyone has worked, with rehearsals filling up more and more of every week. But what a result they achieved. What a show. And what a way to mark 70 years. Here’s to the next 70, with CAODS at the heart of musical theatre in Lincolnshire – where it has rightly earned its place.
 

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