Evita

Cry for Everyone

Evita

by Andrew Lloyd Webber, lyrics by Tim Rice

HLO Musical Company at the Hampton Hill Theatre until 12^th October

Review by Heather Moulson

There is a strong opening to this ambitious rock opera.   We are in a Buenos Aires cinema in July 1952.  The cinema audience is authentically dressed in the fashion of that era.  When the film is interrupted with news of the death of María Eva Duarte de Perón, there is a sense of real loss and mourning for Argentina’s First Lady, universally known simply as Evita.

The coffin is brought on, and it is the turn of Che, the cynical narrator, to reveal himself.   Appropriately it is Argentinian actor Sergio Altamirano who saunters onto the stage in the role.  A dark and witty force with a strong voice, he strikes a monumental figure against the black coffin.   

Flashing back in time to 1934 and fading tango singer Agustin Magaldi is coerced into taking the young Eva to the big apple of Buenos Aires.  Magaldi is played by Ewan Ridgewell, but despite a having a strong voice and good stage presence, he could be a little more full of himself.   

So we met a young Eva, played by Beth Garcia, skilled and consistent in voice and captivating to watch.  One feels she has to grow more comfortable in the role, at least in the first half.   However, the tender and calculating duet of I’d Be Surprisingly Good for You, sung with Andy Cox as Juan Perón creates the right mood and sets a sensual atmosphere.    

Peron’s Mistress, played by glamorous Rachael Nolan, sings the poignant Another Suitcase in Another Hall beautifully, full of acceptance and melancholy. 

The backlash from the Argentinian aristocracy and military has the right level of hauteur and disdain for a working-class First Lady set against Perón’s regimental rank.

Beth Garcia comes into her own in the second act with the landmark Don’t Cry for me Argentina.  The set is bare, except for the two flights of steps onto a balcony, necessary for the large cast playing the people of Argentina.  Once in power, Evita became the strong figure of her nation, and this is well portrayed by Garcia, who here excels.  With the exception of the orange wig, her glamorous clothes and accessories makes Evita stand out as the figurehead she is.  The costumes are beautifully created by Elizabeth Malone, Veronica Martin, Heather Monro and Harriet Muir.

Meanwhile Perón and his army officers grow more chilling as they form the dictatorship.   

High Flying Adored is a touching duo between Che and Eva, and the two singers work particularly well together.   Rainbow High is a very detailed and strong number as Elizabeth Malone and Veronica Martin dress Eva for the part she is destined to fulfil.

Choreography is inconsistent in places but still carries the vibrancy of the crowds of Argentina, and voices generally are at a high standard.   Gareth Bevan directs this powerful story in great detail, and musical director Lee Dewsnap and conductor James Hall bring a sharp tempo and innovative meaning to these wonderful numbers.  However, there are dry witticisms in the text of Tim Rice’s lyrics, but some sadly get lost where the music drowns out the words, particularly Che’s.  The dancers and the ensemble have vibrant routines that keep the storyline going.  Choreographers Sian Bowles-Bevan and Karen Gravestock really make the numbers stand out, while Tim Edwards’ lighting is both moody and accurate.   

The Colonels and Officers take a while to get into their roles but then are played most convincingly by Tony Cotterill, Paul Huggins, Andrew Lumsden, Harriet Muir, John Pyle and Andrea Wilkins.   Evita’s discarded lovers are played by Peter Ramsbottom and Robert Smethurst.   

A montage of songs as Eva lies dying creates a strong atmosphere of loss and poignancy. 

Evita is an uplifting show.   

Heather Moulson, October 2024

Photography by Annemarie Heinrich