Evita

Clitheroe Parish Church Amateur Operatic and Dramatic Society began their season with an ambitious and emotionally charged production of Evita, delivering a bold, confident interpretation of Andrew Lloyd Webber and Tim Rice’s iconic musical. From the opening Requiem to the final tableau, the company showed artistic maturity and a deep respect for the material, embracing its political complexity, musical demands, and sweeping narrative scale.

What stood out was the production’s cohesion. Evita relies heavily on ensemble strength, and here the company excelled, vocally unified, dramatically committed, and fully engaged in the storytelling. The staging made excellent use of the performance space, creating fluid transitions between intimate moments and larger political scenes, while the musical direction anchored the evening with clarity and emotional depth.

Directed with assurance by Damian Marsh, the production moved swiftly through Eva Perón’s meteoric rise and tragic decline, charting her journey with clarity and intelligence. The pacing ensured the narrative never faltered; each transition felt purposeful, each tableau carefully shaped to illuminate both the public icon and the vulnerable woman beneath. The company delivered performances that were smooth, passionate, and consistently engaging.

One of the production’s most striking achievements was the way Eva remained constantly present on stage. Even in the rare moments she exited, her returns were swift and purposeful, with several costume changes executed in full view of the audience, beautifully woven into the choreography as the ensemble surrounded and moved with her. This seamless integration of action and transformation spoke to the direction and the precision of Lindsay Taylor’s choreography, both working in harmony. The movement was exacting and synchronised, capturing the contrasting worlds of the poised upper classes, the regimented army, and the restless populous with clarity. A particular highlight was the routine charting Perón’s rise through the military ranks: a cleverly staged sequence in which dancers escorted fallen officials away as seats shifted and power changed hands, creating a vivid, almost cinematic depiction of political ascent.

Under the assured musical direction of Tom Bowes, the orchestra navigated Evita’s demanding and stylistically varied score with authority. From driving militaristic rhythms to sweeping ballads and sharp political motifs, the musicians delivered a sound that was disciplined and richly textured. Tom shaped the evening with a keen ear for detail, allowing the score’s complexity to shine without overwhelming the storytelling. Vocally, the company rose to the challenge with impressive consistency: strong, expressive, and wonderfully clear throughout. The ensemble harmonies were particularly striking, those hair‑raising, tightly blended moments that held the audience in rapt attention.

 

Behind the scenes, Stage Manager Mic Longhi and his team ensured the production ran with impressive smoothness. Set design and construction by Brian Haworth, Mick Gidlow and Mic Longhi, with scenic artistry by Iva Skunca, provided a simple yet striking visual foundation. Replicated stone steps stretched across the rear of the stage, adding height and dimension against the gothic arches of the Casa Rosada. This allowed the front of the stage to transform fluidly into a nightclub, an army conference room, or any number of interior spaces. The design trusted the performers, and rightly so. Their presence created the illusion of balconies, bedrooms, and bustling offices with minimal scenery. The doors facing the audience on either side of the stage were used with smart efficiency, becoming bedrooms, private chambers, and discreet exits, enhancing the sense of a living, breathing world.

Props, coordinated by Lesley Haworth and Mel Crook, added texture and authenticity. With Evita requiring a surprising number of practical items, from military paraphernalia to nightclub accessories, political banners, microphones, and ceremonial objects, the props team ensured everything was well‑chosen, well‑supported, and seamlessly integrated into the action.

Costumes, supplied by Charades Theatrical Costume Hire and managed by wardrobe lead Jean Pells and her team, looked excellent throughout. The wardrobe captured the shifting worlds of the piece with clarity: crisp military uniforms, elegant upper‑class attire, and vibrant nightclub costumes all helped define character and status at once. Eva’s costumes were particularly striking, charting her transformation from ambitious young actor to Argentina’s First Lady with sophistication and flair. Quick‑change moments were handled with impressive efficiency. Hair and makeup also looked fabulous, completing the visual storytelling with polished period styling.

Lighting by Paddy Keane and his team was consistently atmospheric, shaping the emotional landscape with sensitivity. The opening illusion of citizens gathered in a cinema was beautifully realised, the stage gradually darkening as they processed around Eva’s coffin, a haunting shift that set the tone. Smoky reds washed across the nightclub scenes and the oppressive world of the military, giving each environment its own pulse. One standout moment was Eva’s speech to the awaiting crowds, brilliantly spot‑lit so she commanded the entire space with a single beam of light.

Sound, designed and worked by John Ormerod and Emily Midgley - Connected 4 Sound, was excellent throughout, offering a clean, well‑balanced mix that supported both orchestra and vocals. A minor cut‑out at the very beginning was swiftly rectified, and from then on, the audio remained crisp and clear, allowing harmonies and musical textures to land with full impact.

At the heart of the production was Jessica Sanderson, delivering a formidable performance as Eva Perón. From her first entrance, she commanded the stage with a magnetic presence, embodying Eva’s ambition, vulnerability, charm, and steel with remarkable nuance. Her vocal performance was outstanding, powerful yet capable of exquisite subtlety, and her stamina, rarely leaving the stage, was exceptional. Each transformation felt earned, charting Eva’s ascent with depth.

Adam Cornett was fabulous as Che, bringing sharp wit, restless energy, and a compelling sense of moral scrutiny. His vocals were strong and his connection with the audience unwavering, guiding them through Eva’s rise and fall with charisma and precision. His physicality and timing added momentum to every scene he touched.

Stepping into his role with only weeks before opening, Damian Marsh delivered a grounded and assured performance as Juan Domingo Peron, balancing his dual responsibilities as director and performer with admirable ease. His portrayal carried authority and nuance, complementing his own directorial vision without overshadowing it.

Oliver Bowen brought flair and personality to Augustín Magaldi, delivering smooth vocals and a lively, engaging presence that set the tone for Eva’s early journey. His showman’s swagger was well‑judged, adding colour and humour without tipping into caricature.

Jennifer Thompson was simply lovely as the Mistress, offering a tender, heartfelt performance. Her rendition of Another Suitcase in Another Hall was beautifully judged, clear, expressive, and emotionally honest providing one of the evening’s most touching moments.

The ensemble, from chorus to dancers, played a vital role in the success of this production. Their commitment, precision, and vocal strength underpinned the entire show. Whether forming political crowds, nightclub patrons, soldiers, aristocrats, or the ever‑shifting masses of Argentina, they brought energy, clarity, and cohesion to every scene. Their harmonies were consistently strong, their movement tight and expressive, and their storytelling instinctive. This was an ensemble that understood its importance and delivered with professionalism and heart.

Clitheroe Parish Church AODS presented a powerful, and emotionally resonant Evita. With strong direction, excellent musical leadership, striking visuals, and a committed cast, the production captured both the spectacle and the humanity of this iconic musical. It was a confident, compelling evening of theatre. I would like to thank everyone at Clitheroe PC AODS for their invitation and warm hospitality and look forward to many more productions from them in the future.

 

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