Reviewed by Barry Lenny, Friday 16th October 2015
Lyricist, Sir Timothy Miles Bindon "Tim" Rice, and composer,
Andrew Lloyd Webber, Baron Lloyd-Webber, together created a number of very popular and successful musicals together. These included
Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and, of course,
Evita, following which they went their separate ways. Like Jesus Christ Superstar, Evita began as a concept album, with
Julie Covington singing the role of Eva Peron, but it soon became a stage show with
Elaine Paige in the title role.
Director and set designer, Ben Saunders, musical director, Rodney Hrvatin, and choreographer, Carmel Vistoli, have put together the first production of Evita in Adelaide in Nineteen years for the Metropolitan Musical Theatre Company. The Met must be very happy with their choice of Evita, considering that the entire production was almost sold out before opening night.
The role of Che was originally meant to be an anonymous character who would act as part narrator, part Greek chorus but, when Howard Prince directed the show in America, he insisted that the role be recognisable as Che Guevara. Later productions and the film version found him, once more, as an unknown citizen, as the creators had intended. This production has him as Che Guevara.
In 1934, Eva Duarte is a fifteen year old girl from a poor family Los Toldos, a village in the region of Las Pampas, who has an affair with a tango singer, Augustin Magaldi, (this is generally disputed as there is no record of him performing in that area in that year and, in any case, he always travelled with his wife) and forces him to take her to Buenos Aires, hoping to find a better life. She soon drops him and quickly works her way up in society, bed by bed. Colonel Juan Domingo Perón, meanwhile, is making his way ever higher in political circles. At a charity concert to raise funds for victims of an earthquake in San Juan, the two meet and are soon in bed together. Eva kicks out his current lover and moves herself in and, some time later, Juan, now a general, runs for the position of president.
He does, of course, become president, with Eva now his wife. She heads off on a tour of Europe, the Rainbow Tour, to promote his presidency, but it is not the success that she had hoped for. Her charity, the Eva Perón Foundation, is raking in the donations, but there are rumours about misappropriation of funds to a Swiss bank account while on the Rainbow Tour and that the tour itself was designed purely to cover her depositing funds for herself and Juan. There are also suggestions of forced donations, and of money laundering.
At the height of her power and fame, Eva is diagnosed with cancer, but announces her intention to run for the position of vice-president. This angers the military leaders but, in the end, she withdraws due to her failing health and she dies at the age of thirty-three. Her body is embalmed but, before it can be placed in a memorial, there is a military coup and the new government ensures that it vanishes and is not seen again for seventeen years until it is revealed to have been sent to Italy to be hidden in a crypt in Milan, under a false name.
María Eva Duarte de Perón is played by
Emma Gordon-Smith, and it is worth the price of admission just to see her enter onto the balcony in a fabulous gown, handmade for her by Jamie Jewell, who also provided wigs for the production. If you hadn't already noticed the resemblance when she makes that entrance with her hair pulled back, as Eva wore it from her marriage to the end of her life, you'll blink and look twice at the similarity between the actress and the late Eva.
Gordon-Smith, of course, does far more than make that one stunning entrance, as she is on stage for almost the entire performance. We watch, enthralled, as she takes her portrayal of Eva from a lively and ambitious fifteen-year-old through to her thirties, mature, sophisticated, politically and economically aware, fighting cancer, and still attempting to support her husband, hiding her illness from the people. Gordon-Smith rises to the challenges presented in creating a believable character who ages eighteen years over a couple of hours, from girl to woman, from poverty to first lady, and all in song. Dialogue, as in conventional operas, is sung recitative.
Not only does she accomplish the task of building this difficult and complex characterisation, but she also brings the house down with that iconic song,
Don't Cry for me Argentina.
The multi-talented Jamie Jewell takes on the role of Juan Perón, and just about regenerates into the Argentinean President. It is hard to recognise Jewell, so absorbed is he into the character, aided by the fact that he, like Gordon-Smith, bears quite a resemblance with his hair slicked back and wearing either smart military uniforms, or expensive suits.
He delves into Perón's insecurities and indecision, which Eva alleviates, urging him on to the top job. Jewell expresses Perón's love for Eva beautifully and we watch him grow in stature as she awakens his ambition. This is a well-considered performance and, most importantly, his rapport with Gordon-Smith is sensational. It would be hard to find a better-matched pair. On top of all that, though, he also possesses a very fine singing voice which he puts to good use in creating this powerful and charismatic leader.
She's a Diamond puts into words Perón's feelings and respect for Eva as she nears her death, and Jewell fills it with emotion.
The role of Che Guevara is taken by Ellis Dolan and what a strong completion of the trio of lead roles he is. His stage presence is unmistakable. Even when simply standing on the edge of the action, watching silently, you cannot help but be aware that he is there. He has a marvellous voice that, at times, almost fires venom when he criticises Eva. As Che he narrates, comments, speaks directly to the populace, and debates Eva, in his role as the 'everyman', always imposing, never bending, sure of his convictions. Dolan gives Che all that he needs for this multifunctional role that has to be authentically handled by just the one character, which is no mean feat. Keep an eye on all three of these lead players.
Kelsey McCormack is Perón's unnamed mistress, displaced by Eva. Her appearance is brief, but the one song that she has is the moving,
Another Suitcase in Another Hall, which she delivers with just the right touch, and gets the huge applause that she deserves.
Andrew Trimmings plays the tango singer, Augustin Magaldi, giving him a nicely self-centred air, more important as a singer in his own mind than in reality. He gives a good feeling of panic when Eva announces that she is going with him to Buenos Aires and he tries, but fails, to talk her out of it in
Eva, Beware of the City.
The chorus has been well-rehearsed by Hrvatin, with the harmonies clear and accurate throughout, all sung with plenty of consideration for the emotional content. They also do well with Vistoli's choreography, inspired more by the ballroom dancing school style of tango than that of Argentina befitting the title, 'the dance of love', the dancers in this production standing well apart as they move, rather than tightly entwined. As only two of the female dancers gave the appearance of having been trained, the complexity of the authentic tango was probably best avoided, anyway. Oddly, though, there were also influences of flamenco, which seemed rather out of place.
Unfortunately, the trumpet is highly exposed in the very opening and every flaw was painfully obvious, with plenty more to follow during the show, as well as some intonation problems with the violin. On the other hand, there is a great deal of complex percussion in this production and, as I am a percussionist myself, it was pleasing to hear the very high standard of work from Corinne Teng. All of the others in the pit acquitted themselves well.
Saunders has designed a Spanish inspired set with steps and balconies, with a moving centrepiece and the odd small extra set piece that, with the aid of the lighting, by Jacob Heinz, serves for all of the locations. He has also cast the production very well with that strong group of principals and good players in the smaller roles. Some tighter direction here and there could have grabbed the attention more, although the second act seemed more cohesive and flowing.
It has been close to two decades since this was seen in Adelaide, and this is a worthy performance with some great work by all of the leads and chorus and so, if there still happens to be a ticket or two left, try to get hold of them.
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