Goodnight And Thank You
Evita - Kursaal, Ostend, Belgium, 3rd August 2014
*brief post*
It was a rather spontaneous decision to see the UK tour's stop in Belgium people posting/telling about Marti not being there and Mark Powell covering him and how great he would be. Also hoped for some quality time away (which did not happen but that is another story...).
So after two days in the UK seeing three shows there I was off to Ostend...
The seaside resort turned out to be a tacky tourist trap, so not what I had expected but at least the Kursaal was a decent place.
Had managed to get my hands on a great seat which gave a nice view over everything after sitting way too close when saw the show the last time in Woking (read about the other shows >>here).
Overall it was again a fantastic show largely due to the cast, I was so pleased that I got to see a show of this production with a proper Che.
I was not sure what to expect despite all the positive things learnt before but from his first moment on stage Mark Powell totally steals the show. He has everything that Marti Pellow lacks.
He has a strong beautiful and most versatile voice accenting and emphasing so perfectly and managing the score as it seems rather effortlessly and his performance is of a Che as I picture one to be being provoking, demanding and with that right bit of abrasiveness, not too much, not too little - an absolute treat. SO wished could have seen more than that one time - why can he not stay on for the London run? :-(
It was also my first time seeing James Waud as Magaldi who took over from Nic Gibney whom I adored. Unfortunately he lacked the charm and arrogance for me rather essential for that part. Yes it was nicely sung, just not a Magaldi whom I, as the public, would fall for or tear apart.
The rest of the cast could also largely impress again. Tougher job for Madalena Alberto though with such an excellent Che at her side but still she could show off what a star she is.
And with Andrew C Wadsworth at her side the "couple" moments also felt so intense again. Her "You Must Love Me" totally got to me, partly because of current personal circumstances (but then it didn't hit me when I saw show in Bad Gandersheim), but particularly because it being performed with such an intensity, such a realism that you cannot help but be most moved by it.
It will be interesting to see what will happen to this production when it runs in London in a few weeks with also just the two leads confirmed so far. I really hope that a good number of the people in ensemble will be able to shine also in the West End. The producer would be stupid to let some talents go.
