Evita

“Evita” began life as a concept album, music by Lloyd Webber, lyrics by Rice.  It tells a version of the life of Eva Peron, second wife of Argentinian President Juan Peron, from illegitimate Eva Duarte to glamorous, powerful Evita, between the years 1934/1952.  Act One charts her tooth and nail clamber to the top of a turbulent, politically volatile Argentina.  Act Two traces her downward trajectory and early death, at just 33, as the people of Argentina become wise to her selfish lust for wealth and power.

The show requires a leading lady who attracts sympathy whilst, in reality, presenting a picture of selfishness and ambition; a woman who loves her country but loves herself just a little more.  She needs authority to convince her audience of these different facets of Evita’s character and Hannah Ellis Brown certainly shines in the role.  Hannah manages to impart the allure Evita holds over her people whilst never quite ridding herself of the street urchin she once was.  And she makes a convincingly captivating job of that show-stopping number, “Don’t Cry For Me Argentina”.

I always feel, however, the best song in the show is almost thrown away on an underdeveloped character, Peron’s summarily dismissed mistress, who does not even merit a name.  Of course, she undoubtedly represents a string of young women who suffered similar fates.  Nevertheless,  I still find “Another Suitcase in Another Hall” a moving song that manages to express the rejection felt by a badly used young woman in about three minutes.  The performance by Amy Grace Reid is certainly very impressive and shows great promise.

The part of Che Guevara is played with a considerable presence by Brian Jordan.  In Elizabethan drama he would have been called “the Chorus”, appearing throughout the action as a sort of sardonic narrator. That Brian does well here.  He also has a stand-out number in “Oh What a Circus, Oh What a Show”, the words of which give a clue, early in the proceedings, as to how the narrative is going to develop.  In “Evita”, the heavy lifting is done by the five principals, including Peron (Liam Gilbert) and Magaldi (Michael Wright Brown).  Naturally, Evita stands front and centre with the ever-present Che weaving in and out of the proceedings.

Musical Director, Andrew Soulsby and orchestra work hard and constantly throughout.  They perform a difficult score well, without opportunity to relax – this being a rock opera with no periods when the music stops.  Costumes, make-up and hair are in keeping with the times (I actually recall the late 40s, early 50s!)  Lighting and sound are both effective throughout although I felt Brian Jordan’s mic could have been a little louder when he sang from within the ensemble.  The sixth “character” is The Ensemble itself which included a troupe of dancers, an adult Ensemble, a Junior Ensemble and a Children’s Ensemble – all of whom acquitted themselves impressively.  A show which has its challenges, performed with considerable sparkle by all concerned.

© NODA CIO. All rights reserved.