Evita: Singers Carry Show with Confidence

Sepia toned, this musical and historical romance is not in traditional mode.

Eva Peron was a phenomenon in Argentina during and immediately after World War II. "EVITA" is her almost messianic story – a girl from the wrong side of the tracks who started at the bottom and worked her way to the top in a remarkably short space of time, before succumbing to cancer at the height of her success.

The romance is not so much the one she has with the country’s president Juan Peron, but with the people of Argentina, making this a musical on a grand geo-political scale.

In it are echoes of its hit predecessor "Jesus Christ Superstar", while there are easily recognised resonances and phrasing from Evita in shows such as "CATS", "The Phantom of the Opera" and even Tim Rice’s "CHESS".

A sing-through musical with Evita hardly ever off stage, the burden of the role is carried admirably by Joanne Sale who delivers a fetching Don’t Cry For Me Argentina.

While older than Evita, who ages during the show from 15 to the significant age of 33, Sale brings exactly the right level of emotional maturity, vocal expressiveness and range, as well as stage experience, to effectively portray such a ride, especially for the more mature Evita and markedly during the illness that takes the character’s life.

There are only four other main characters, and director Scott Andrew has been blessed with an able leading group to complement Sale’s talents.

Bradford Meurk’s Che, as narrator, provides a strong link with his musical commentary, while Ben Jones’ Peron grows in stature and confidence as the show progresses.

Madison Horman as Peron’s dumped mistress, turns in an evocative Another Suitcase in Another Hall while Richard Brown presents well as Magaldi, the tango singer Evita dumps when he has outlived his usefulness.

The sixth ‘‘character’’ is the ensemble who portray, courtesy of numerous quick-fire costume changes, the people of Argentina, members of the ruling elite and various army officers.

Vocally they do a wonderful job, though there were dance moves that could be sharper and some of the set pieces were slightly pedestrian, lacking South American flare.

The demanding score is well handled by Barry Jones’ soundtrack supplemented by a nine-piece pocket orchestra.

This is a more than capable production and fans of Andrew Lloyd Webber musicals should enjoy the period time warp it reveals.