Evita

Milford Haven Amateur Operatic Society’s production of Evita at the Torch Theatre on Wednesday 11th March 2026 was an ambitious undertaking that showcased the depth of talent within the company. Andrew Lloyd Webber and Tim Rice’s iconic musical is no easy production to stage, requiring strong principals, a committed ensemble, demanding choreography and powerful musical accompaniment, and this production succeeded in delivering many memorable moments throughout the evening. At the centre of the production was Bronwen Cousins as Eva Perón, who gave a committed and emotionally engaging performance in the title role. She captured both Eva’s fierce ambition and her vulnerability as the story progressed, delivering several of the show’s most recognisable musical moments with confidence and stage presence. Despite unfortunate technical issues affecting her microphone during much of the first half, Cousins remained composed and continued to perform with professionalism throughout. Aled Davies was excellent as Che, acting as the show’s narrator with clarity, charisma and strong vocal delivery. His performance provided much of the production’s momentum, and he maintained a commanding presence whenever on stage. Daniel Bower also impressed as Juan Perón, portraying the political leader with authority and restraint, while still allowing moments of warmth and humanity to come through.

Jordan Dickin deserves special mention for a particularly strong performance as Magaldi. Although the role is relatively brief, he made a real impact with both his vocals and stage presence, helping to establish the early tone of the production effectively.

The ensemble worked tirelessly throughout the evening and should be commended for maintaining the energy and scale required by Evita. Large musical numbers were performed with enthusiasm and commitment, and the chorus contributed greatly to the atmosphere of the production. The choreography by Kelly Simmonds-Jones added movement and energy to the larger scenes and was particularly effective in creating the sense of spectacle that the show demands. A special mention to the children’s chorus, what an experience for them! 

The production was confidently directed by Sarah Hirst, who clearly understood the scale and pacing needed for a show such as Evita. The staging made good use of the Torch Theatre space, and scenes flowed well despite the complexity of the production. One of the evening’s greatest strengths was undoubtedly the music. It was fantastic to see a full orchestra in the pit, something that always elevates a musical theatre production and adds an authenticity that recorded backing tracks simply cannot replicate. Under the musical direction of Angharad Saunders, the orchestra provided a rich and dynamic accompaniment throughout the evening, supporting the performers well and capturing the dramatic contrasts within the score.

Unfortunately, the production was hampered in the first half by significant sound issues, particularly relating to Eva’s microphone. At times, important lyrics and dialogue were difficult to hear, which meant portions of the storyline became hard to follow. In a sung-through musical such as Evita, where narrative clarity relies heavily on vocal delivery, this inevitably impacted the audience experience. It was especially frustrating because the strength of the performances deserved to be fully appreciated. Thankfully, these issues improved later in the performance, allowing the cast’s work to shine through more clearly in the second half.

Despite these technical difficulties, Milford Haven Amateur Operatic Society should be proud of what they achieved with this production. Evita is a demanding show in every respect, and the company demonstrated talent, dedication and ambition in bringing it to the Torch Theatre stage. Strong leading performances, an able ensemble, impressive live orchestration and committed direction combined to create an entertaining and enjoyable evening of theatre.

 

The views in this report are solely of the author.

 

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