Evita

So, generally speaking it is not that easy to confuse Stafford with the West End of London. As a proud Staffordian myself, I absolutely support the fabulous things that our County Town has to offer (such as our theatre and amazing amateur theatre societies!) but even I have to admit that I never usually think I am in the heart of London’s smartest district. However, watching this production had me confused because the sheer quality portrayed had me thinking that I absolutely had managed to be transported to the likes of Drury Lane or Shaftesbury Avenue. This production was exquisite (which was the word I used when I got home and my husband asked me how it was!). Exquisite!

The quality of this production was outstanding; both the onstage talent and the backstage and production crew were obviously working at the highest standard. A musical where absolutely everything is sung is a challenge, I always thing the “speaking” elements are harder than the songs themselves but there was no light and shade with this one, it was all of the highest standard. Having read the Chair’s comment in the programme, I can reassure them that it was very much “Madonna who?!”. Caroline Keen (Director), Calum Robarts (Musical Director) and Suzie Kemp (Choreographer) produced an exemplary production. All sound and lighting was behaving itself on the night with no evident gremlins and the band were absolutely on form.

The set was perfect. I can absolutely imagine that this is a production where it is easy to fall down a rabbit hole as regards set design but MTS kept it simple and it worked so perfectly, allowing the individual and collective performances to take centre stage.The costume was absolutely fitting at every stage (with special mention of Evita’s beautiful dress for “Don’t Cry For Me Argentina) and all props were spot on.

The principal cast were exceptional (hence the whole West End/location confusion!). Taking on the role of Evita must be just so exciting but I am sure comes with its pressures but Michelle Handley knocked it out of the park! Don’t Cry For Me Argentina is one of my favourite West End songs of all time and it was amazing to see it so fabulously done.

Dan Surj as Che was again of the highest quality and probably of all the principal roles, was able to inject some fun and sarcasm into is role as he questions whether the revered Evita was quite the role model she set out to be.

If you had closed your eyes, you might have been forgiven for thinking that MTS had somehow managed to secure Bryn Terfel for the week but that was Henry Whittaker as Juan Peron. From the opening scene where he cut an imposing figure on the balcony before even singing a note, that resonant voice owned every scene he was in (and also, not born that far from Bryn so maybe there is something in the water?!).

Jono Down as Magaldi, last seen in 9-5 played it superbly and whilst also great in 9-5, seemed to have grown as a performer to own this role with a fantastic vocal.

Kellymarie Matthews (The Mistress), also seen last doing a fabulous job in 9-5, took responsibility for one of the best-known solos of the piece (and another one of my favourite West End songs) and completely nailed it! Pretty sure that overall, Carlsberg put this principal cast together.

They were extremely ably supported by the ensemble cast who were on and off stage with amazing regularity and the dance troupe who added depth to the action. The children’s ensemble (Team Eva the night I was there) showed once again how much talent is present that we will be enjoying far into the future.

Usually, I like to add a little constructive feedback to my reports and it being live theatre, usually something isn’t quite how it should be. But I am drawing a blank! Totally! I was spellbound from beginning to end by the show MTS created. I suppose the only thing I could say is you have created a hell of a high bar for yourselves but I’ll bet you will take on that challenge with aplomb!

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