Leaving the Northcott on a pleasant Saturday afternoon, my head was ringing with the powerful chorus songs of Evita. Written and composed by Tim Rice and Andrew Lloyd Webber is a tale of the much loved Eva Duarte, who becomes first lady of Argentina. Evita boasts some of Lloyd Webbers most exquisite and best composed scores and so is destined a musical spectacle.
Argentina’s first lady with all the adoration of her nation is mourned over in the moving and heavy opening scene, demonstrating the impact this woman had on the lives of the Argentinian people.
Che, played by Eoin McAndrew sets us into the context of the early days of Evas life. A witty and relatable character gives the audience an alternative angle to look on the charming young actress.
Climbing the social ladder and advancing significantly in her acting and radio career Eva gradually fulfills her dreams in the promising city of Buenos Aires.
Whilst it seems she is able to launch herself at any man that may ‘advance her cause’ Daniela Goldaracena Parkes gives Eva a bright and driven nature, a powerful and appropriate with beautifully pronounciated southern American voice. In amongst the whirlwind of her career success and socialite status, during a time of political unrest she meets Colonel Juan Peron, at a charity event in 1944.
With the dismissal of his previous mistress Eva shows her authority and seriousness of her relationship with Juan. The role of the mistress played by Helly Dudley with a notably impressive voice, portrays her youth and vulnerability. Whilst Eva empathizes with her situation she is firm and clear of her changed situation.
A romance begins and despite the initial unpopularity of the pairing, the couple gain respect and adoration from the nation as they position themselves in a persuasive representation of the working classes. Supportive of her husband Peron, played by Will Beynon, Eva insists to the people of Argentina that he will be the man to save their Nation.
A fantastically choreographed contemporary dance troupe kept the mood and movements of the population well represented within the context of the story and balanced the space on the stage well in order to set the atmosphere.
Well rehearsed, managed and frequent costume change throughout gave a seamless transition from one scene to the next. Each chorus member successfully shifting from one scene to the next, from united street protesters to the president’s private party guests.
The drama and attention that are attracted by the couple give cause to question if Evita’s heart is in the right place. The famous anthem ‘Don’t Cry for Me Argentina’ would assume you to believe so, however the song in its apparent love and adoration once again returns Eva to center stage. We are presented with the challenge of recognizing any real achievements or progressions made economically.
Santa Evita as she is then lovingly named, iconic and ambitious, falls tragically ill. With her weak body she battles, giving her final broadcast to inspiring effect. She then dies at the age of 33 and we are pulled viciously back to the scene of mourning sweeping the nation of which we had viewed so unknowingly at the opening scene.
Overall a potent and hearty depiction of the musical, filled with passion and nationalism the cast swarmed us within the ache of their loss.