4 January 2024 I 19:30 I Curve Theatre, Leicester
⭐⭐⭐
Evita, the historical musical collaboration between Andrew Lloyd Webber and Tim Rice, follows the late First Lady of Argentina Eva Perón, on a social climbing journey against the odds, to become one of the most internationally popular female politicians. Directed by Nikolai Foster, the Curve Theatre present a striking new adaptation, likened by many to Jamie Lloyd's Sunset Boulevard (which you can also find my review for!). However I will not be comparing the two shows, viewing Evita entirely as it's own respective show. This musical holds a lot of power, and I really felt this force, yet where Eva captures the hearts of the nation, I couldn't help but feel a disconnect.
Michael Taylor's set design is monumental, and it is hugely impressive to see a new wave of capabilities from the Curve Theatre. Beyond the typical 'stage', the set has been entirely stripped back, where backstage areas are visible, exposing the performers in a vulnerable state. This reflects on the operations of fame, to see how busy the atmosphere is not only for those in the spotlight, but those away from it too. However, with such extensive stage pictures comes dramatic scenic transitions, which are easily distracting and clunky when they move. The grandeur of the visuals can have a positive and negative impact, and there are quite a few moments where a bare stage, complimented by Adam Murray's contemporary choreography, can bring a lovely energy. Notably during Buenos Aires, where the production really kicks into gear.
Additionally, Joshie Harriette's lighting design makes for spectacular visions, particularly the use of backlighting to feel rich in stardom. Though alike the set, there must be a mindfulness to this, as I had to close my eyes a few times due to the direction and intensity of these lights. Equally with the use of mirrors, holding the potential to spoil otherwise well crafted sequences.
I really admire Martha Kirby's characterisation of Eva Perón. She is such a classy performer, and her versatility through emotion helps her to portray such a divisive character. Eva is a challenging part, as she is neither wholly likeable or dislikeable, which is a problem for when her story is translated for theatrics. Nevertheless, Kirby has an easy grace, a playful way of command. The showstopping Don't Cry For Me Argentina is effortlessly performed, you feel immersed in her crowd of followers. Gary Milner is a menacingly good Juan Perón, complimenting Kirby wonderfully as this ruthless dictator, often watching over the action. Yet for arguably the toughest character, we see him break, making for the most interesting character arc. The show does feel concert-like, emotionally devoid at times, where a little more intimacy could have been explored between the pair, but overall tremendously lead
As our Che/Narrator, Tyrone Huntley is simply delightful. Although Evita is a musical from the late 70s, he brings such a enthusiastically contemporary pop and integrity to the production. Che is the easiest to connect with, as he doubles with the chorus of the lower class, victims to Argentinian tensions that antagonise Eva's position of power. Huntley especially has an eye for the camera, working very well with the use of videography.
This technological aspect really heightens Eva's charm with the media, and at one point the camera faces the audience, where we can see ourselves, gifting this surreal edge that we are the voiceless spectators. Occasionally, screenwork can missed due to the blocking of large set pieces, though this is rare, and other sensory elements (particularly sound) aid in carrying the momentum.
As mentioned in my intro, the main reason for my disconnection to Evita is largely due to the plot. As an example, Chumisa Dornford-May gives the most sublime rendition of Another Suitcase In Another Hall, one of my most memorable moments from the show. However, playing Perón's Mistress, this is the first and last time we see her character, where such an emotional ballad feels almost wasted on a character limited to only one scene, lacking investment in these stories.
Evita's musical director Ben Van Tienen is such a highlight as we watch him conduct an immensely punchy group of musicians. In the middle of the front row, we were immediately behind Tienen, and he was so lovely to even compliment my jumper before the show! Once he had beautifully played out, it was so endearing to have a quick chat with him, and really get a feel for his true enthusiasm! The ground was literally shaking by our feet with his movement, so that's when you know your MD is doing a good job! Lyrically (Tim Rice), I found Evita hit and miss, gliding over some quite important moments of the Perón's lives, yet Lloyd Webber's music reigns in yet another triumph.
For a fan of Andrew Lloyd Webber productions, I found the Curve's adaptation of Evita to fall flat, needing a slightly tighter vision to really solidify the action and what its purpose is, still being accessible for those who don't know the story of Eva Perón. I will give credit to Foster's method of storytelling, in terms of feeling invested in a show. I hugely appreciate the risks taken, rather than a predictability / carbon copy of previous performances, without a doubt still an enjoyable experience.
Comments