Evita

Can you believe it’s 45 years since Andrew Lloyd Webber and Tim Rice’s Evita first opened in the West End?  How time flies, and how great that Redditch Operatic Society has chosen to recognise that landmark with its own production of this now classic musical.  It’s been something of a labour of love for director Tony Jay to bring this show to the Palace Theatre stage, and I’m pleased to report that it’s one that paid off magnificently. 

Evita charts the life of Argentine political leader Eva Perón, the second wife of President Juan Perón. The story follows Evita's early life (including her many affairs, amusingly summarised here), her rise to power, charity work, and death. It struck me that the Peróns were perhaps an early example of the cult of personality that has taken over politics, which has culminated in the rise to power of the likes of Johnson, Trump, and – in a timely coincidence – Argentina’s Javier Milei. 

The show opened with a black and white Pathe newsreel showing (spoilers!) the reaction to the death of Eva Perón, and the outpouring of emotion that followed.  The curtains then rose to reveal a spectacular, multi-level set, complete with ornate balconies and multiple exits and entrances.  This very impressive set provided a superb, flexible backdrop to the performances, and really set the scene for a production of very high standard.

As Che, the narrator who takes us through the tale, David Steele was an assured, likeable presence with a nice droll style and smooth singing voice – perfect to draw us in to the story.  From the moment he opened the sung-though show with the famous ‘Oh What A Circus’, we knew we were in safe hands. 

It wasn’t long before Eva appeared on the scene, and Sophie Grogan took up the role with relish.  Noticeably growing in confidence as the show went on, she was particularly strong in the quieter, personal scenes, clearly demonstrating Eva’s ruthless ambition as her relentless social climb began.  The famous showstopper ‘Don’t Cry For Me Argentina’ was impeccably delivered, and she was also very good in the later scenes, in which Eva’s body disintegrated even as her will stayed strong.

Ritchie Smith was also very good as Juan Perón, whose journey up the slippery slope to power was amusingly presented via a game of musical chairs.  I liked the contrast between the early scenes, in which we see Perón as a wide-eyed, lovestruck character swept along in Eva’s slipstream, and those later sections where he gains and attempts to cling on to power. 

Paul Mitchell was spot on as Agustin Magaldi, an early conquest of Eva’s.  He was completely believable as 'the sentimental voice of Buenos Aires’, both looking and sounding the part, and his singing was excellent.

Evita features a great cameo opportunity in the form of the song ‘Another Suitcase in Another Hall’, as Peron ejects his mistress in favour of Eva.  It’s an opportunity that Rhiannon Lee Street absolutely aced, with a superb performance, both vocally and emotionally, and it garnered a well-deserved ovation from the audience. 

The principals were supported by a large company of featured characters, ensembles, dancers, and children.  They all enhanced the group scenes immeasurably, with very composed performances across the board.  This show provided ample evidence of how those playing even the smallest roles can have a real impact.  I particularly liked the crowd scenes as the Peróns made their way to power, with the adulation of the people very clearly shown (as was the fact that only men were allowed to vote!) 

The play was well directed by Tony Jay, with Paula Lacey contributing some excellent choreography.  To pick out just a few highlights, ‘Perón’s Latest Flame’ included some great synchronised movement amongst the ensemble (no doubt hours of rehearsal, right there on stage), and ‘A New Argentina’ brought the first half to an impressive end, complete with Les Mis-style flag waving.  In the second half, ‘Rainbow Tour’, a complicated number providing a great showcase for Che, was executed brilliantly by the whole cast.

Alongside the top-notch performances from the cast, the backstage sound, lighting, props (all those flags!), wardrobe and make-up teams all delivered brilliantly.  The lighting, in particular, was so atmospheric, perfectly enhancing the action.  Musical director Joe George led a twelve-piece band expertly, delivering the complex musical score without missing a beat. 

All of which added up to a presentation of this musical that felt perfectly judged.  This was a production of the highest standard, of which all involved should be rightfully proud.  My congratulations to the whole Society, and I look forward to seeing you again next year. 

© NODA CIO. All rights reserved.