Evita

With only five leading characters plus scope for an ensemble of unspecified size, Evita is a popular choice for societies all over the world who can adapt its scale to suit their membership.  Staging a show based largely on real life events of relatively modern times, all recorded on film for us, poses questions for the production team of how accurately to depict them on stage balanced against how much artistic license to take - and playing in the spectacular and world famous open air Minack Theatre brings its own challenges for a company - vast stage, vertiginous audience seating, daylight cancelling out the carefully designed lighting plot, and the ever-present threat of bad weather…!  but Helston Theatre Company are not daunted, being thoroughly conversant with the potential difficulties from their past experiences.  Evita’s week was blessed with full houses and fine weather heralding a profitable and satisfying outcome.  

The Set: The Minack has its own beauty so it is sensitive to augment the stone work in a fashion that doesn’t obscure it.  The demand of this show for the balcony of the Casa Rosada was met with the construction of a versatile balustraded walkway overspanning the roundel and supported on legs that created three arches.  This was finely detailed with a central boss and “carved” waves completely in keeping with Rowena’s own handiwork and when dressed with a swag in Argentina’s national colours it provided the perfect vantage point for political addresses and for Evita’s famous anthem.  A staircase linked it to the fish slab via a platform with further steps down to the main stage.  The painting was colour-matched to the permanent structures and the result was a pleasing backdrop for the action, that provided a variety of levels to add interest to the placement of the performers.  Specific scenes were indicated by the addition of rough-wood boxes quickly moved by cast members into different configurations; seating, podiums, table/desk/dressing table. This allowed to action to keep flowing. More substantial pieces entered under the arches atop the roundel; coffin on bier, altar, deathbed.  The concentration of the set towards stage right did draw our attention to that side predominantly, but the pillars were also used to frame more intimate scenes.   This design worked well in providing a compatible supplement to the concrete while leaving a usable space for the many performers, and the simplicity of its appearance belied the work that had gone into the assembly and disguising of the necessary scaffolding and safety features.

 Lighting:  Although the performance opened in daylight it was not long before the deep shadow of the setting sun allowed the colours of the design to have their effect.  LED pars and floodlights, with their capacity to change colour to suit, gobo projectors and follow spots all played their part in illuminating and adding atmosphere to the action.  Purple underpinned the sombre mood of the Requiem, while vibrant oranges and lemons supported the excitement of Buenos Aires.  Romantic lilac was apt for Eva’s first meeting with Peron, and the soft rose and gold lit Peron’s Latest Flame in a sympathetic glow.  A single spot as the Mistress sang Another Suitcase In Another Hall poignantly highlighted her plight and the follow spots on Eva, Peron and Che focussed attention on each as they moved among the ensemble.  Filling the entire stage with a wash of deep red and purple was very powerful in Santa Evita. The use of smoke, frequently so effective at lifting the colours of the lights inside a theatre, seemed excessive given the strong up-draught from behind the stage, which blew it around so much that any subtlety was lost, but it seemed more controlled in the closing moments as Evita walked into a haze of purple to end the show in dramatic style.  

Sound:  The voiceover ‘radio’ announcement of Eva Peron’s death was credible - it sounded right and if it was the real historic broadcast I applaud you.   Merging it into an English translation was a clever device to allow non-Spanish speakers in the audience to share the news.  Generally I was comfortable with the balance between band and singing but there were many times when I couldn’t hear the lyrics clearly except on the solos of Che, Magaldi and Mistress. Sadly, I even noted several times that I couldn’t always hear what Evita was singing.  Perhaps the outdoor venue changes the acoustics, but fortunately the spectacle of a musical, with its lights, colourful costumes and dancing can overcome the lapses so the audience will enjoy the performance despite them.  

Props:  It is a pleasure to be able to commend wholeheartedly the collection of props.  Starting with the so-impressive ‘ebony’ casket, topped by a beautiful coffin spray in blues and whites as befits the First Lady of Argentina, and sitting on a bier draped in the national colours, the attention to detail in the tangible aspects of presentation is exemplary.  The generously proportioned oval wreaths, the processional cross, aspergillum and bible, all so fleetingly seen, gave a real sense of the solemnity of the occasion.  Floral tributes were securely placed into sensibly prepared containers.  We saw 1940s’ silver-topped microphones, Champagne coupes, correct for the era, on silver salvers, and more silver in Mistress’s coffee set.  The leather suitcases and steamer trunk, hat box and vanity case were believably of period as were the bakelite telephone and Evita’s dressing table vanity set, and the practical candle lamps and altar dressing for the vigil of Santa Evita added to the ‘mysticism’ of her adoration by the masses.  The placards with their political messages in A New Argentina were sturdy and visually clear but we did see a lot of the back of them, spoiling the effect.  The military officers carried swagger sticks that looked authentic enough from a distance, the aristocratic ladies fluttered their fans with proper disdain and the company flapped their handkerchiefs energetically, if a little over-repeatedly.  The newspapers, bold enough to see the headlines, did look rather scruffy after half a week of shows - laminate them maybe?  Evita’s dresses and jewellery that were removed and added during the performance became props and were handled with nimble fingers but I felt it a pity that her earrings were not taken off by her dressers along with the diamond necklace - they would have been.  Peron’s desk looked business-like dressed with folders.  All props seemed to be in the right place at the right time and were handled with a sureness that spoke of early rehearsal.

 Costumes:  The selection of costumes for the opening of the show immediately set the era, with a variety of day wear for men and women, braces, aprons and head scarves denoting social class, that reappeared frequently in a constant rush of changes.  The military outfits on display throughout followed a believable scheme, there being little information available on which to base an accurate Argentine uniform, so dressing for a musical came to the fore giving us bright dress red or working grey jackets, gold fourrageres, aiguillettes, epaulettes, shining buttons and boots, with peaked caps or tall feather-plumed hats all resulting in a reasonable and good looking set - nice job!  Other working clothes appeared - religious vestments red and black showing a variety of ranks in details of beretta or zucchetto, all typical of the South American catholic faith; sailors and schoolgirls, it was a neat touch to add the Norland Nannies as per song lyrics, secret police in macs and shades, young confirmands, maids in black velvet, nurses in starched white and red-robed choirboys.  All those specifics before we look at the general sunshine yellows and reds of Buenos Aires, and the aristocrats’ evening dresses and suits with an understated blue colour scheme.  The costume team pulled together a a collection of disparate and multi coloured outfits for a large company, which is no mean feat but I did feel that the lack of any congruity in full ensemble number was somewhat distracting so that I couldn’t always see the main characters among the varied masses or know where I should be looking.  This was a huge number of individual pieces not only to supply but also to have ready at the right moment for all the changes. The quickest changes must have been for Eva, who barely had time to get back to the dressing room!  Mistress’s white silk PJs with marabou-trimmed mules denoted her position quickly and she was given a beautiful fur coat that looked real, from an era before faux fur, likewise Eva’s mink cape.  Magaldi, properly clad as the epitome of cabaret opera idol in frill-fronted shirt with matching bow tie and cummerbund, made a very polished change on stage, while keeping Che simple, as the almost invisible narrator, in plain shirt and braces without the addition of the misleading Guevara beret worked really well.  Peron, unnoticeable at first in his general’s uniform, had appropriate changes to civvies’ three piece suits and smart tails.  Evita had a myriad of dresses that changed with her status from immodest chorus girl through her many chiffon and satin night-time encounters, to more elegant day suits, coat dress, a gorgeous blue sequin number, and the glamour of black silk and white fox as she prepared for the Rainbow Tour - full marks for the period corset, all culminating in The Dress to look like the beautiful icon on the balcony.  There was attention to detail in the use of head coverings in church, and gloves and shoes were in keeping with the era, especially putting many of the men into tan coloured shoes.  The collection was certainly a great achievement for the wardrobe department.  

Make up and Hair:  There was a tendency towards the stronger lip colours and heavy eyebrows of the period. Hair styling was noticeably thoughtful and considered.  Obviously Eva needed a series of wigs as she progressed through her career from her natural brunette to the bleached blonde familiar to the world - well styled and maintained.  There was a very visible gauze edging to the severe blonde bun that didn’t quite blend into the make up and a curl started to make its way loose towards the end, but without seeming to distract her.  It was appropriate that Magaldi was Brycreemed and moustachioed, a fine character presentation, and Peron’s slicked hair was also correct for the time.  With their need for head scarves and hats intermittently the ladies of the ensemble were able to wear their hair in a natural way as the general populace, but we saw waved wigs or rolls as they became the  aristocracy.   

Music:   The eight-piece band provided a tight backing for the performers on stage and was directed by a keen hand to be sensitive to the moods of the various changes throughout.  On the occasions that I didn’t catch the words it may have been because there was an imbalance between band and singing, or a mistiming by the voices - choral/unison singing does need to be tight and the more singers there are trying to keep together the harder it is for the inexperienced. The singing in both Spanish and Latin called for a great deal of concentration and, I dare say, some extra rehearsals, stretching the company outside its normal range of musicals and is to be commended. The pace kept up with their enthusiasm and matched the more poignant and emotional moments.   Good harmonies en masse and effective softer backing for the principals, as with the humming chorus of Don’t Cry For Me, Argentina, that dramatically rose and fell in intensity.  

Choreography:  Ranging in style from subdued mourning through exuberant festival to national tango, there was plenty to keep the ensemble fully engaged.  They had a wide stage to fill and to cover moving from one side to the other so had to be fit!  Most of the routines that used the full cast kept up a lively spirit, with the Latino influence demonstrated by sensual hip action, and the tango’s giros and boleos.  But what stood out was the rather peculiar pseudo marching performed by the military.  Genuine formation manoeuvres are drilled meticulously so clearly that was out of the question, and your men are not trained dancers.  Kept simple, but nevertheless, the routines looked less than polished, if I may put it that way.  There was no unity in the arm lines, which might have been the least we could expect to keep it looking tidy, and the strange ‘pick up your feet and stamp’ of the travel made it look child-like, I’m sorry to say.  There was an original take on Art Of The Possible but having the men on the fish slab did look a little too cramped to allow for crisp positioning.   Eva maintained her cruciform position as she was carried by the men and a well held vertical lift ended And The Money Kept Rollin’ In.  Nice idea to back the seductive I’d Be Surprisingly Good For You with a couple doing the tango behind Eva and Peron before their own dance, and her waltz with Che fitted the dream sequence eloquently.  

Direction:  There is a strong story to tell in this musical, one based on true life events that still have relevance today.  Conveying the passions of those involved at the time is a responsibility so it is important not to let the music and dance become the focus.  Clearly some artistic license was taken, most noticeably by casting such a young man in the role of Peron who was twice the age of Eva when they met.  With no attempt to age him, the two made a good looking pair and worked well together in developing a believable relationship with some real tenderness in their intimacy.     The large cast was well drilled in entering and exiting swiftly and tidily and all were engaged with the action giving varied and distinct reactions to the news of Evita’s death, exuberance at the rally, disdain or awe, each in his or her own way so that we saw ‘real’ characters.  On occasion I found the sudden focus to a new ‘moment’ on the opposite side of the stage hard to follow.  Its being such a wide stage, when a new voice sounded away from the previous centre of attention we had to look for its source - not something that is noticeable with stages half the width.   The blocking of the critical moments of the narrative carried a powerful message of the impression that the Perons had on their nation, with the use of the balcony symbolically as well as practically elevating them above the masses.  The players gave committed performances following the highs and lows of the storyline under a guiding hand with experience behind it, and the result was a moving reminder of the history of this doomed romance on the other side of the world. 

 It is always a pleasure to see a Helston Theatre Company show - so varied in their genres, and this will have proved another great success for them. 

 

 

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