Evita began life in 1976 as a rock opera concept album, and for this year’s main house Christmas production, director Nikolai Foster revisits these roots with a rock concert-style vibe.
Michael Taylor’s set design evokes a festival stage with exposed wings, scaffolding and billows of smoke and haze. The set itself is minimalistic to say the least, although effective use is made of a large staircase which swirls across the stage, rising gantries and a lift shaft centre stage. Joshie Harriette’s lighting design continues the high-wattage rock concert theme, and the huge circular rig for the opening “Requiem” is stunning.
Through narrator Che (Tyrone Huntley), Evita is the biographical story of Eva Duarte (Martha Kirby); as a teenager, she is keen to leave her humble upbringing for the bright lights of Buenos Aires. Tango singer Agustin Magaldi (Dan Partridge) is used as a stepping stone for a new life and, after a series of “helpful” affairs, Eva is a successful actress and radio star. She meets ambitious Colonel Juan Perón (Gary Milner) at a charity event, and, together (by hook and by crook), they gain Argentina’s popular vote and power. Their success is, however, fleeting, and Eva’s life is cut short through cancer.
This production also considers how Eva’s life could be seen as that of a present-day influencer, building her reputation and following through images and glamour. The use of a hand-held camera projecting on-screen adds to this and also gives the feel of a fly-on-the-wall documentary as Che questions her actions. While this reflection on the social media age may resonate more with a Gen Z audience, setting this biographical musical in a different century with few other references to latch onto for context is at times confusing.
That said, the performances soar, expertly aided by associate musical director Tom Slade and his musicians. The always-excellent Huntley delivers Che’s cynicism, Milner shows Perón’s strength and faltering ambitions and Partridge gives Magaldi a Presley-esque attitude. Martha Kirby shows Eva’s vulnerable side well and comes into her emotional own in act 2, particularly in the duets “Waltz for Eva and Che” and “You Must Love Me”. Chumisa Dornford-May is also impressive in “Another Suitcase in Another Hall”, the Mistress role really needing more to do in this musical.
Taking the line “dressed up to the nines” from the anthemic “Don’t Cry For Me Argentina” as his cue, Edd Linley has created a beautiful wardrobe for Eva. With a nod to the 1930s and 40s of her heyday, contemporary embellishments include “power” pinstriped wide-leg trouser suits and a Chanel-style box jacket. Otherwise, the look is stark, functional monochrome, save the colour explosion in “Perón’s Latest Flame”.
Lloyd Webber’s majestic score and Tim Rice’s clever and revealing lyrics are given full justice by an excellent cast in this refreshed production.