Evita

Oh, what a show and what a night. BMTS have, once more, produced a wonderfully professional show, and this show is not an easy one to do. Director Claire Carr has, once more, woven her magic around this production. The show, which has only recently finished a run in the West End, is a really huge undertaking for an amateur cast in a local theatre. I can honestly say that it was wonderful.

The set was delightfully simple with a high platform with mobile staircases at either end and the illuminated letters filling the middle section. These were positioned so that the actors had entrance and exit spaces in between the letters allowing them to slip on and off the stage easily and discretely. The whole show had an easy fluency about it and the only pieces of set to move were the stairs on trucks. These morphed from access stairs to the top level to framing some of the action until they came together to form the famous balcony. I must congratulate the stage crew and cast members who moved the set about with the minimum of fuss but always anchored them securely. Lighting design and operation added to the intensity of the narrative and the sound was really good with a nice use of reverb.

This sung - through show needed, of course, a strong musical director and Ian Southgate’s work with both the cast and principals was great. The music is so difficult, often discordant, and pitching some of the solos and chorus’ can only be the result of a lot of hard work and practice. The band, at the back of the stage, produced a wonderful, strong sound as we knew they would from the first notes of the ‘Requiem for Evita’ which, quite frankly sent shivers down my spine.

Choreography, also by the multitalented Claire Carr, was outstanding. I loved that all the society members were used in some capacity and the dance routines were designed to accommodate everyone. There was one outstanding routine, danced acapella in a flamenco style, and the dancers tapped and clapped the rhythm sensationally well. I also loved the Argentine Tango battles in ‘The Art of the Possible’ when Peron works his way to the top of the government.

Emerging from the mist at the beginning of the show came Che, played by Matt Charlesworth. His moody presence accompanied the whole show and narrated the sequence of events of Eva’s rise to fame. Matt had a great, casual but superior air about him and his light tenor voice was strong enough to pierce the action surrounding him. He appeared from all over the stage to intervene and clarify the progression of Eva’s story. His stage presence developed throughout the show and from the beginning, when the first notes of Requiem for Evita resounded around the theatre to the final ‘Lament’ he impressed with his on-stage authority.

The principal cast had such a lot to do and Hannah Brent, as Eva Peron, was rarely off the stage. In-between powerful songs she barely had time to change clothes! Retelling the story of Eva and her rise and fall in popularity is such an intense experience and Hannah portrayed this with every ounce of her voice and actions. If I have to prioritise any favourites in this amazing musical I would have to choose ‘You must love me’ and, of course, ‘Don’t cry for me Argentina’ but, the intensity and feeling Hannah displayed throughout the show was amazing. Well done, Hannah, most actors who have taken on this role have found it a very intense experience. She certainly gave everything to this role. She possesses a beautiful voice and managed to address the huge vocal range which this part demands.

Senor Magaldi was played by the wonderful Matthew Ibbotson. His voice is just glorious and his stage presence was strong. He moved across the stage with rhythm in every dance move and authority in his dialogue. I really enjoyed his performance.

 Ben Martins as Peron, fitted the part very well, although I am used to seeing older Perons. Ben has a great voice, wonderful stage presence and was a more caring version of Peron than I’ve seen before. In that way, Eva’s dominance over him and his restrained jealousy was very believable. Their duet,’ I’d be surprisingly good for you’ was outstanding.

Scarlett Coote as the rejected mistress gave a really lovely rendition of ‘Another Suitcase in Another Hall’. Her beautifully broken demeanour and youth accompanied by a lovely light voice made for a great performance. Another lovely cameo performance was from the young girl. I’m not sure if I saw Millie Denman or Rosanna Tidbury on the night I visited but she completely stole the hearts of the audience with a clear and tuneful song. Well done.

I have not mentioned the chorus enough, I feel. They coped with so many difficult songs and harmonies with confidence and attack. The dance routines were so effective but that is down to their hard work and those of the dance captains. Claire had so many lovely effects inserted into the action and the officers dance moves were witty and fun. They, too, had numerous quick costume changes but the energy and concentration didn’t falter. This was a large cast and every single person was focussed, practised and completely in the zone.

Costumes were lovely. The turquoise and blue ensemble looked terrific as did the flamenco style black dresses. All costumes were well thought through and added to the effect.

This show was a triumph and just demonstrates what can be achieved by a local group. Claire must be congratulated for bringing this to a local stage and I thoroughly enjoyed it.

Many thanks for looking after us so well. I can’t wait for your next show.

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