Evita

When Andrew Lloyd Webber and Tim Rice decided to collaborate on a musical based on the controversial life story of Eva Peron who knew what a phenomenal success it would turn out to be.  Newark Amateur Operatic Society have taken this script and produced a show full of dynamism, humour and heart wrenching moments that brings the story vividly to life.  Directed under the watchful eye of Mike Follen, who also had a minor part on stage, this is an exploration of one extraordinary woman’s life and her meteoric rise to power cut short by her untimely death to cancer at just 33.  In this production, we are also shown a more personal, poignant side to her marriage to Argentina’s President, Juan Perón. 

Beginning with a cinema reel that is abruptly halted informing the people of Eva’s death, we are presented with our musical narrator the sardonic Ché, played with scornful arrogance by William Dewick, deriding the mourning as hysterical ‘Requiem/ Oh What a Circus’ then proceeding to tell us the real story behind the legend. 

William was incredible as Ché dripping with disdain as he lurked ghostlike on the sidelines proffering his opinion with a scathing back-handed comment.  I was especially impressed with his performance of the beautiful rock ballad ‘High Flying Adored’ switching effortlessly between vitriol and grudging respect.  Ché had a dual role; he is the voice of the common people but also Eva’s ‘Jiminy Cricket’ constantly chiding her actions until she had to face the music with their confrontational waltz as she battled with her terminal disease and her conscience.

We are transported back to 1934 and a sleazy nightclub featuring the mediocre tango singer, Augustin Magaldi and Eva’s current lover who shmoozes his adoring fans and the teenage Eva with ‘Night of a Thousand Stars’.  Magaldi played, by the versatile actor, Justin Day, is the first rung on the ladder to fame and glory a chance for the ambitious Eva to leave her old life behind and pursue her dreams.  Magaldi tries to warn Eva that she should be wary stating that Buenos Aires the ‘big apple’ would corrupt anyone especially someone as immature and naive as her, but Eva persuades him to take her along with him.  I especially liked his look of horror when he is thrown out of Eva’s life realising the tables had been turned on this macho lothario.

Eva herself, played with perfection by Kate Taylor, starts our story with the confidence and self-assurance of a young bubbling fifteen-year-old her eyes full of dreams of stardom and transports us through her entire life history maturing before our very eyes.  I was especially impressed with her multi-tasking skills belting out ‘Rainbow High’ while simultaneously changing her outfits, in fact, a lot of her costume changes were in full view of the audience.  Kate commands the stage dazzling and shimmering with her every appearance her voice ranging from gentle sweet manipulation with her seduction of Peròn ‘I’d be Surprisingly Good for You’ to scathing contempt as she rails against the people who oppose her and the Aristocracy who look down on her.  Her absolute highlights were her passionate speech on the balcony ‘Don’t Cry for me Argentina’ as she usurps Peròn and her heart breaking ‘You Must Love Me’ as Eva, her fragile body riddled with cancer, lies on the floor next to her devastated husband questioning why he wanted still to be with her.

Her husband Juan Peròn, played by Andrew Beighton in his debut role with the society, was perfect as the bluff plain-speaking military colonel overwhelmed by his manipulative wife.  His vocals were wonderful, you could hear his Gilbert & Sullivan roots in the timbre of his baritone voice. Peròn was the mirror to Eva’s ambitions. Two people from different walks of life who, but for a chance engagement, would never have met whose relationship changed Argentina’s politics.  The scene where Peròn becomes President with the crowd chanting ‘Evita’ was the moment he truly realised she was more popular than him.  I especially liked the ‘Art of the Possible’ as Peròn eliminated each military opponent using the allegory of a poker game.  Peròn had some beautiful scenes with Eva which highlighted his love for her, but he also had to balance that against the increasing growing antagonism of the army ‘She is a Diamond.’ I loved the moment where he tenderly placed his hand on her coffin.

Eva’s ruthless climb to power was perfectly illustrated with her cruel treatment of the Mistress.  A character not even given a name she was played exquisitely and with compassion by Emma Wighton.  A fragile little creature kicked out of Peron’s life still stunned and reeling by the event as she sings ‘Another Suitcase’ still dressed in her simple silk slip, barefoot clutching a tiny suitcase.  Emma’s performance was heart-wrenching, her eyes searching the audience for compassion as, almost on the verge of tears but with a steely determination, she questioned what would happen next while behind her Ché and Eva’s discarded lovers echoed her future fate.

The main cast was supported by an incredible ensemble whose passion and enthusiasm were palpable.  They mourned for Eva, they carried placards in protest during ‘A New Argentina’ and showed their adoration at the Casa Rosada.  Interspersed with Natasha Wade’s fantastic choreography - they told the tale almost as if you were watching a film reel.  I especially liked the use of tableaus depicting Eva’s enemies. You could almost smell the sweat from the soldiers in the changing room during ‘Peròn’s Latest Flame.’  They were balanced with the Aristocracy (featuring Production Manager Roseann Edis) as they slowly sidled into view with their curled lips and crystal cut vowels sipping English tea and champagne.

 I also enjoyed the humorous ‘Good Bye and Thank-you’ where Eva in her boudoir lingerie dispatches a string of disappointed lovers.  As the chorus of men bitterly observe ‘Argentine men call the sexual shots someone has altered the rules’ proving Eva was an early feminist to their alpha male machismo.  One standout performance in the chorus was Sarah Chrimes playing the role of Eva’s maid/PA.  Her facial expressions as she fussed over Eva were perfect and we saw this turn to heart-felt anguish during Eva’s slow demise and death. I also adored the chorus of little girls in angelic white dresses singing to their Santa Evita.

The set had been created, with the permission and support of the Palace Theatre, by removing the front three rows of chairs in the auditorium to accommodate the stage.  The stage was also painted in the colours of the Argentine flag, featuring the ‘Sol De Mayo’ which was shown to its very best effect.  This gave a perfect space for the cast, especially the dancers, to perform. It also featured a two-tier platform (again constructed by the theatre from scratch) which was used to dramatic effect during Eva’s speech at the Casa Rosada. Simple pieces of furniture were used to denote a change of scene and these changes were slick and seamless. I liked the simple use of flags to denote the changes of location in ‘Rainbow High’ and I especially liked the orchestra on stage.  The clever use of Eva’s death bed was brilliantly executed.

Musical direction was by Paul O’Leary, who along with his seventeen talented musicians (including Assistant Musical Director Lindsay Follen) really made this challenging score their own.  They took us on a musical journey, echoing Eva’s mood swings, and matching the passion of the crowd. The heart-thumping Argentinian dance score, featuring the Latin-American Tango, Paso Doble and Rumba, was used to excellent effect.  I especially liked the steady drum beat representing Eva’s ebbing heartbeat as she died.

The costumes, some provided by the cast, were perfect reflecting the historical period.  Eva’s wigs and costumes were stunning evolving with her: a simple 40s dress for young Eva, the starlet dripping in jewels and furs, the more serious business-like Chanel two-piece suit and her diamond encrusted iconic white ball gown and signature chignon which was used to dramatic effect as she stood ghost like on the balcony surveying her own funeral casket.

All in all, a stunning show with strong leads who played their parts wonderfully but also a strong chorus telling the tale of the people of Argentina through dance and song.  Well, done NAOS you brought the story to dazzling life and deserved the standing ovation you received for an outstanding team production.

Thank you to Rita and Barbara for a lovely warm welcome and the chance to meet some of the cast afterwards.

© NODA CIO.  All rights reserved 

 

© NODA CIO. All rights reserved.