Falling To The Charms Of Evita
Evita, Hippodrome, Birmingham, 18th April, 2014
I had never really intended to see the UK tour of Evita which already toured last year despite it starring Madalena Alberto as Evita, whom have liked for many years - she already stood out in the ensemble in her first job when I saw her in the Old Vic pantomime production of Aladdin in 2005 I went to see because it starred Ian McKellen and a few other performers I liked back then (my one and only panto experience) - but when learning that a certain So on Good Friday I was off to Birmingham to see the show in the evening....
Official Cast:
Eva - Madalena Alberto
Che - Marti Pellow
Peron - Mark Heenehan
Magaldi - Nic Gibney
Mistress - Sarah McNicholas
Alternate Eva - Michelle Pentecost
Mother/Ensemble - Olive Robinson
Sister/Ensemble - Anna McGarahan
Sister/Ensemble - Verity Burgess
Ensemble + U/S EVA - Ceili O'Connor
Ensemble + U/S Mistress - Lizzie Ottley
Brother/Ensemble - Joe McCourt
Older Man / Ensemble + U/S Peron - Errol Clayton
Mid Aged Man/Ensemble - Joel Elferink
Man/Ensemble + U/S Che - Stuart Maciver
Man/Secret Police/Ensemble - Chris Stoddart
Man/Secret Police/Ensemble - Ryan Limb
Man/Secret Police/Ensemble - Alyn Hawke
Man/Soldier/Ensemble - Callum Fitzgerald
Man/Soldier/Ensemble - David Brewis
After the ridiculous production in Wiesbaden I saw a few months ago the UK tour production is a positive surprise. It is certainly not the best production of all I have seen of Evita (and I have seen quite a lot - two digit number these days) but it is a telling the story of Eva Duarte's life (or whatever ALW and Tim Rice try to tell us what her life was) and her rise in a spotless and unagitated manner (even if the actual pace is sometimes a bit too quick).
Having seen so many productions this production, directed by Bob Thomson and Bill Kenwright, does not deliver anything new but at least stays faithful to the book.
There are some ideas that work well (as "Peron's Latest Flame" or the whole act 2 opening scene), some not so for me (as "Rainbow Tour" or "Lament") but the overall concept can entertain and catch my attention.
What though helps is that besides the direction the rest is (largely) convincing with a slick unadorned set (design by Matthew Wright) made up of spiral staircases, arches, a couple of pillars, balconies and a few other more mobile props as chairs effectively the various locations are created with also a usually satisfying light design (by Mark Howett) that just occasionally gets a tiny bit too bright and is blinding me (at least where I sat in row D) and pleasing most of the time appropriate the periods matching costumes looking neat and, when needed, elegant and classy.
Some reviewers said that the tour deserves a more lavish grand set, more striking costumes for the big scenes etc. but I do disagree. I like these productions that are not overloaded with set that take away sometimes the focus from the actual show and the scene changes also did not distract me (as they sometimes do in other shows) which was mentioned too.
Bill Deamer (who won an Olivier Award for his choreography in Top Hat (couldn't stand that show, choreo was top though)) created some visually peppy and obviously vibrant choreography even if some movements look a bit too stilted and awkward and do not catch the South American vibe.
Especially "Buenos Aires" is a bit too polished for me lacking the whole atmosphere I picture which was present in a vibrant Argentinian city full of people with hopes and dreams back then.
But what this production makes special is the casting of Portuguese born Madalena Alberto as Evita.
Can an Evita be played any more perfectly than this? I highly doubt it.
She managed, as it seemed, so easily, so effortlessly to create a most complex character in the two hour show with finding the (for me) exactly right balance between vulnerable frailty and big and brash strength making all developments and transformations Evita goes through totally believable and compelling that I cannot help but just simply falling to the charms of this Evita.
I have seen some great Evitas in the past, but Madalena really breathes life into her so nuanced performance with all the different often contradictory facets that define Evita - the ambition, the determination as when following Magaldi and first and foremost her dreams, the persuasiveness when she meets Peron or she meets the ordinary Argentinian crowd which she seemed to captivate so easily, the pain, physical and mentally when facing death at the end and in any other moment of Evita in-between - she totally captures every moment of Evita's life with conviction and spirit.
But also vocally she can sparkle with her full expressive range - especially "Buenos Aires", which is sung with so much dazzling sassy and feisty whirlwind attitude and flamboyance, and "Don't Cry For Me Argentina", that is just spine-tingling, so controlled, full of victorious confidence and refinement, are a feast for the senses.
But also when Evita is close to dying, still full of mental willpower, Madalena made the audience, well me, literally feel the pain Evita must have gone through when having her final broadcast and with "You Must Love Me" not boring me for the first time ever (never understood the hype of that song, for me it is normally just a filler and I do not need another song to underline Evita's demand) that I actually shed a few tears as Evita actually felt human for once - also in this show an absolute rarity.
Mark Heenehan at her side as Peron has a rich baritone voice but has as most Peron's I have seen just little room for depth with even though the numbers are there the emphasis to show his personal rise is very little. Saying that he nevertheless does what he does convincingly and the chemistry between Peron and Eva is believable. I just want to see a production once that does not let him look like largely a wimp. Yes, he had a strong woman at his side but Peron also knew exactly what he wanted.
"Another Suitcase In Another Hall" is beautifully sung by Sarah McNicholas as Peron's mistress - it just left me surprisingly unaffected with the number sounding actually a bit too clean not sounding like someone who was just hurt.
Nic Gibney as tango singer and Evita's first love Magaldi is just as I want the part to be played - slippery, slimy, very aware of his attraction and sings his "On This Night Of Thousand Stars" with greatest fervour that I could not help but fall a little for him for a second or two.. or maybe three, four, five... . ;-)
The ensemble can also please with largely fine vocals (though there is the odd female who may want to hold a bit back occasionally drowing out the rest a bit so that the ensemble bits do not always harmonise) and dance performances.
As said knowing someone in the ensemble I was often watching them closely (update: unfortunately) but all made the evening a terrific one.
Kudos also go to the extras as the children choir which was lovely to watch and listen to.
That though cannot be said about Marti Pellow as Che who is the weak link in this production.
I really want to like him as a musical performer as I have liked him as singer for many years growing up listening to Wet Wet Wet, even been to a concert of them in the 1990s, but in whatever musical I see him in he can never really deliver what others in the parts he play can and have.
May it be the lack of professional training, the lack of proper directing, ego issues, a combination of these or something else he can never impress but is obviously given the jobs way too big for him as he still sells a few tickets as the crowd of fans I saw at that show in the audience.
Fans most probably will call me bitter as I have seen that comment on his forum when quoting negative reviews but neither I am jealous or bitter but I want to see someone who can actually give a character substance - especially such an important role as Che - whatever Che Che is - may it be a Che, a guy from the crowd, or the Che - it still is a character that somehow narrates the show with a lost of sarcasm and sardonic humour but for me he can never show that appearing very lacklustre in general with a lot of teetering around and arm raising someone obviously thinks is acting - well.... it is not.
What is though even more disappointing is his singing - he sings musical songs, some absolute musical classics these days and he hardly ever put them in the right context with his expression.
But then I could often not understand properly anyway what he was singing sounding often breathy, strained shouty and him muffling. If I hadn't known the piece before I wouldn't know what his numbers were about.
What was also totally annoying me was that he was way too loud regularly especially when the ensemble was with him on stage singing - them highlighting too well his weaker vocal skills but unfortunately him being so loud that you could not really enjoy the talented ensemble backing.
Overall a production worthwhile a visit - with Madalena Alberto being worth the ticket price alone.
Now what is the easiest and preferably cheapest way to get to Ostend/Belgium to see a show of this production without Marti Pellow???
For more information on this production have a look >>here .
Che - Marti Pellow
Peron - Mark Heenehan
Magaldi - Nic Gibney
Mistress - Sarah McNicholas
Alternate Eva - Michelle Pentecost
Mother/Ensemble - Olive Robinson
Sister/Ensemble - Anna McGarahan
Sister/Ensemble - Verity Burgess
Ensemble + U/S EVA - Ceili O'Connor
Ensemble + U/S Mistress - Lizzie Ottley
Brother/Ensemble - Joe McCourt
Older Man / Ensemble + U/S Peron - Errol Clayton
Mid Aged Man/Ensemble - Joel Elferink
Man/Ensemble + U/S Che - Stuart Maciver
Man/Secret Police/Ensemble - Chris Stoddart
Man/Secret Police/Ensemble - Ryan Limb
Man/Secret Police/Ensemble - Alyn Hawke
Man/Soldier/Ensemble - Callum Fitzgerald
Man/Soldier/Ensemble - David Brewis
After the ridiculous production in Wiesbaden I saw a few months ago the UK tour production is a positive surprise. It is certainly not the best production of all I have seen of Evita (and I have seen quite a lot - two digit number these days) but it is a telling the story of Eva Duarte's life (or whatever ALW and Tim Rice try to tell us what her life was) and her rise in a spotless and unagitated manner (even if the actual pace is sometimes a bit too quick).
Having seen so many productions this production, directed by Bob Thomson and Bill Kenwright, does not deliver anything new but at least stays faithful to the book.
There are some ideas that work well (as "Peron's Latest Flame" or the whole act 2 opening scene), some not so for me (as "Rainbow Tour" or "Lament") but the overall concept can entertain and catch my attention.
What though helps is that besides the direction the rest is (largely) convincing with a slick unadorned set (design by Matthew Wright) made up of spiral staircases, arches, a couple of pillars, balconies and a few other more mobile props as chairs effectively the various locations are created with also a usually satisfying light design (by Mark Howett) that just occasionally gets a tiny bit too bright and is blinding me (at least where I sat in row D) and pleasing most of the time appropriate the periods matching costumes looking neat and, when needed, elegant and classy.
Some reviewers said that the tour deserves a more lavish grand set, more striking costumes for the big scenes etc. but I do disagree. I like these productions that are not overloaded with set that take away sometimes the focus from the actual show and the scene changes also did not distract me (as they sometimes do in other shows) which was mentioned too.
Bill Deamer (who won an Olivier Award for his choreography in Top Hat (couldn't stand that show, choreo was top though)) created some visually peppy and obviously vibrant choreography even if some movements look a bit too stilted and awkward and do not catch the South American vibe.
Especially "Buenos Aires" is a bit too polished for me lacking the whole atmosphere I picture which was present in a vibrant Argentinian city full of people with hopes and dreams back then.
But what this production makes special is the casting of Portuguese born Madalena Alberto as Evita.
Can an Evita be played any more perfectly than this? I highly doubt it.
She managed, as it seemed, so easily, so effortlessly to create a most complex character in the two hour show with finding the (for me) exactly right balance between vulnerable frailty and big and brash strength making all developments and transformations Evita goes through totally believable and compelling that I cannot help but just simply falling to the charms of this Evita.
I have seen some great Evitas in the past, but Madalena really breathes life into her so nuanced performance with all the different often contradictory facets that define Evita - the ambition, the determination as when following Magaldi and first and foremost her dreams, the persuasiveness when she meets Peron or she meets the ordinary Argentinian crowd which she seemed to captivate so easily, the pain, physical and mentally when facing death at the end and in any other moment of Evita in-between - she totally captures every moment of Evita's life with conviction and spirit.
But also vocally she can sparkle with her full expressive range - especially "Buenos Aires", which is sung with so much dazzling sassy and feisty whirlwind attitude and flamboyance, and "Don't Cry For Me Argentina", that is just spine-tingling, so controlled, full of victorious confidence and refinement, are a feast for the senses.
But also when Evita is close to dying, still full of mental willpower, Madalena made the audience, well me, literally feel the pain Evita must have gone through when having her final broadcast and with "You Must Love Me" not boring me for the first time ever (never understood the hype of that song, for me it is normally just a filler and I do not need another song to underline Evita's demand) that I actually shed a few tears as Evita actually felt human for once - also in this show an absolute rarity.
Mark Heenehan at her side as Peron has a rich baritone voice but has as most Peron's I have seen just little room for depth with even though the numbers are there the emphasis to show his personal rise is very little. Saying that he nevertheless does what he does convincingly and the chemistry between Peron and Eva is believable. I just want to see a production once that does not let him look like largely a wimp. Yes, he had a strong woman at his side but Peron also knew exactly what he wanted.
"Another Suitcase In Another Hall" is beautifully sung by Sarah McNicholas as Peron's mistress - it just left me surprisingly unaffected with the number sounding actually a bit too clean not sounding like someone who was just hurt.
Nic Gibney as tango singer and Evita's first love Magaldi is just as I want the part to be played - slippery, slimy, very aware of his attraction and sings his "On This Night Of Thousand Stars" with greatest fervour that I could not help but fall a little for him for a second or two.. or maybe three, four, five... . ;-)
The ensemble can also please with largely fine vocals (though there is the odd female who may want to hold a bit back occasionally drowing out the rest a bit so that the ensemble bits do not always harmonise) and dance performances.
As said knowing someone in the ensemble I was often watching them closely (update: unfortunately) but all made the evening a terrific one.
Kudos also go to the extras as the children choir which was lovely to watch and listen to.
That though cannot be said about Marti Pellow as Che who is the weak link in this production.
I really want to like him as a musical performer as I have liked him as singer for many years growing up listening to Wet Wet Wet, even been to a concert of them in the 1990s, but in whatever musical I see him in he can never really deliver what others in the parts he play can and have.
May it be the lack of professional training, the lack of proper directing, ego issues, a combination of these or something else he can never impress but is obviously given the jobs way too big for him as he still sells a few tickets as the crowd of fans I saw at that show in the audience.
Fans most probably will call me bitter as I have seen that comment on his forum when quoting negative reviews but neither I am jealous or bitter but I want to see someone who can actually give a character substance - especially such an important role as Che - whatever Che Che is - may it be a Che, a guy from the crowd, or the Che - it still is a character that somehow narrates the show with a lost of sarcasm and sardonic humour but for me he can never show that appearing very lacklustre in general with a lot of teetering around and arm raising someone obviously thinks is acting - well.... it is not.
What is though even more disappointing is his singing - he sings musical songs, some absolute musical classics these days and he hardly ever put them in the right context with his expression.
But then I could often not understand properly anyway what he was singing sounding often breathy, strained shouty and him muffling. If I hadn't known the piece before I wouldn't know what his numbers were about.
What was also totally annoying me was that he was way too loud regularly especially when the ensemble was with him on stage singing - them highlighting too well his weaker vocal skills but unfortunately him being so loud that you could not really enjoy the talented ensemble backing.
Overall a production worthwhile a visit - with Madalena Alberto being worth the ticket price alone.
Now what is the easiest and preferably cheapest way to get to Ostend/Belgium to see a show of this production without Marti Pellow???
For more information on this production have a look >>here .
