Evita

Evita – charts the rise of fiery ambitious Eva Duarte; from impoverished beginnings, to actress and then to become the much loved but contentious First Lady of Argentina. When she dies at age 33, many of her fellow countrymen and women mourn her with an almost pious devotion.

The Epsom Playhouse is a modern, comfortable theatre. Front of House was busy and efficient. We received a warm welcome from Chairman Richard and his colleagues. The programme was attractively presented; and packed with photos & information on Eva Peron, this production and Leatherhead Operatic Society.

The two-storey set was sturdy and imposing, with a landing and fine staircases on each side. It served as apartments, presidential  buildings, etc. Furniture and props were minimal and handled slickly. The large stage crew were dressed in the period and efficiently performed their work. Wardrobe had excelled themselves. Costumes were always well chosen; from the drab clothes of the poor, through the smart uniforms and luxurious apparel of the aristocracy to the rapid succession of Eva’s attractive outfits. Hair, wigs and make-up all looked spot-on for the period.

Lighting was uniformly excellent, throughout the show. Principals were always picked out clearly from the crowd; and the tableaux during Cinema were dramatically precise.

Sound was managed very crisply and enjoyably. The orchestra,  led by MD Sam Fisher, performed very well and gave great accompaniment right through the show. Only once or twice were they a bit intrusive in the Che solos.

Movements were always finely choreographed, by Louise E. Wilson…from tango dancers to crowd pieces like Buenos Aires. The ensemble movements for Peron’s Latest Flame were delightful….the aristocrats shoaling for safety and exuding malice, whilst the furious army officers impotently countermarched. And the Money was another finely woven crowd scene, played to Che’s cynical diatribe. Waltz for Eva and Che was so clever ! They danced beautifully but separately, and yet the intimacy was there.

All of the songs were well executed. Each and every member of the cast was totally in character and in place. The sad, beautiful Requiem contrasted so well with Circus, a passionate anti-eulogy from Che.

Jacob Botha gave full throttle to On This Night of a Thousand Stars, a brilliantly cheesy number that framed the seduction of young Eva by tango singer Augustin Magaldi. He takes her off to Buenos Aires, but gets his come-uppance when she leaves him for a succession of more powerful lovers…amusingly portrayed in Goodnight and Thank You. Peron’s own rise to prominence is well handled in the power games of The Art of the Possible.

Having wooed and won Peron, Eva wastes no time in ousting and humiliating her predecessor. Ellie-Claire King’s Another Suitcase was, for me, a stand-out moment…an enchanting song exquisitely sung.

Tom Paine sang well; and gave great depth and humanity to his portrayal of Peron. He showed him as a strong, and even ruthless, man for the Army and his country, whilst displaying a powerful devotion to Eva.

Eva and Che Guevara never met in real life…so it’s an ingenious notion to have this iconic man of the people commentating on her career, especially in the skilful hands of Benjamin Essenhigh. He provided passion and cynicism without ever descending into caricature. His singing was excellent, particularly in High Flying.

Charlotte Fisher had a huge role to play. She met the challenge and gave a superb vocal performance. There was no attempt to sugar-coat Eva’s character. We got the obsessive ambition and the full iron lady…but also a powerful display of Eva’s charisma and empathy.

Evita is an exceptionally good musical. John Harries-Rees wielded a strong team and more than did it justice. It was a very fine presentation and a wonderful evening.

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