It is perhaps an irony that Eva Peron who despised the middle classes, has become the centre of a musical beloved by middle class theatre goers worldwide.
The Tim Rice / Andrew Lloyd Webber classic was launched as an album in 1978 featuring Julie Covington, Colm Wilkinson, Tony Christie and Barbara Dickson. It transfered to the stage in 1978 in a ground breaking production directed by Hal Prince, with Elaine Paige in the starring role backed by David Essex and Joss Ackland. The 1996 movie starring Madonna is perhaps the best of the Lloyd Webber stage-to-movie adaptations thanks to Alan Parker's directorial skill. Now, we have a revival at the much lauded Leicester Curve, directed by the venue's Artistic Director, Nikolai Foster.
The story of Evita is one of ambition, power and corruption. From humble beginnings in a family for which poverty was the norm, Eva Duarte meets and seduces (or is seduced by) tango singer Augustine Magaldi. She uses him as a stepping stone to get to Buenos Airies where she becomes an actress and star of the radio. Meeting Colonel Juan Peron at a charity event, she embarks on an affair and they soon marry. Eva backs her hisband's political ambition and in the process becomes a figure-head for the Peronist movement. When Peron is voted President of Argentina, Eva's ambitions reach new heights and she seeks to promote Argentina as a world power and sets out on a tour of Europe to gain powerful political allies. Amid financial mis-management of her charity Foundation, Eva becomes ill and dies of cancer in 1952, aged just 33. Three million people attend her funeral procession.
That is of course a very brief summing up of a complex and rivetting story. Andrew Lloyd Webber supplies perhaps his finest theatre score matched by some savage lyrics from Tim Rice. Their final collaboration together is a masterpiece, and they were wise not to try and better it.
The Curve's new production has minimal staging - a moving staircase and a gantry which descends being the two notable set elements - but its use of powerful and striking lighting throughout, brilliantly realised by Joshie Harriette, lifts the visuals and gives it an epic, almost religious flavour. Martha Kirby has the uneviable task of performing a role which has become immortalised through the efforts of Elaine Paige in the West End and Patti LuPone on Broadway. She manages not to let any comparisons phase her, and gives us a vocally excellent Eva, full of the fire and passion which we associate with the character. Her delivery of the scene on the Balcony of the Casa Rosada where she implores Argentina not to cry for her is classily executed. Tyrone Huntley makes his everyman Che a wily commentator on the unfolding events, Huntley nails the beautiful 'High Flying Adored' and is a performer to watch in the future. Gary Milner's Peron is perhaps less intimidating than previously portrayed but his love for Eva shines through, particularly during 'You Must Love Me', which is an emotional high point. Chumisa Dornford-May as Peron's jilted mistress rises to the challenge of 'Another Suitcase In Another Hall' with a tender vocal that displays a vulnerability and incomprehension at being rejected in favour of Eva. As ever, the ensemble are the backbone of the piece, whirling around the stage in Adam Murray's frantic choreography or singing the hell out of 'A New Argentina', this is an ensemble equal to the challenges of the difficult score. The ten strong band are an attraction in themselves, never has Evita sounded so good.
With the stage peopled by a cast mostly in black - save for the Argentinan aristocracy who flounce around in technicolour - this production is a blank canvas awash with brooding set pieces, mercurial lighting and moments of gentle introspection. The standing ovation at the end of the first preview performance was heartfelt. Don't cry for the Curve, word of mouth recommendation should ensure that the money keeps rollin' in over the festive period. Catch it whilst you can.
Rob & Ian
For further details go to Curve Online
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