Nikolai Foster’s choice of Christmas production is vastly different from 2022’s family orientated Wizard of Oz. Evita tells the story of Argentina’s first lady Eva Peron, written by Andrew Lloyd Webber and Tim Rice in 1978.
Although we dive straight into a dramatic requiem sequence, the story itself takes a while to pick up. We see Eva’s revolving door of lovers whom she supposedly took advantage of, but none of the success she achieved, giving little insight into Eva’s background. The only thing we know for sure is Eva loves a camera, as she embraces the videographer’s chase, seductively fluttering her eyelashes.
Parts are a fun display with flurried movement from Adam Murray’s choreography, the staircase whirling around the stage and dizzying live camera footage, but lacks the poignancy one feels it should have. Peron’s Latest Flame is a memorable number, and uses the ensemble brilliantly.
The cast performances are good – Martha Kirby’s voice is undoubtably beautiful, and she certainly looked the part of glamorous actress cum suave politician in Edd Lindley’s power outfits, but none generated enough goosebumps to override the script which flitters through scenes far too fast to be comprehended thoroughly.
As charismatic as Tyrone Huntley’s performance as narrator Che is, the speed of his delivery means a lot of articulation is lost which unfortunately adds to the lack of awareness of what’s happening.
Joshie Harriette’s lighting does most of the heavy lifting in terms of set, alternating between bathing the stage in orange tints or stark spotlights, otherwise Michael Taylor’s set is bleak, all metal railings and austere. As dramatic as the darkened stage can be, it provides little context which gives the impression of an abstract commentary on social media fame, rather than a narrative on a specific person.
I knew nothing about Eva Peron and little about Argentina going into this performance, and to be frank know just as little now. I’m unsure whether Eva was truly adored by the public or delusional, whether she was some kind of political mastermind or merely fame hungry, if she was simply an opportunist or genuinely wanted to do right by the downtrodden. It’s clear she was a controversial figure, but not quite articulated why, and not assisted with the sung-through musical format with zero set changes which leaves little time for anything to sit with the audience. Eva tells Argantina to not cry for her, and I’m still wondering why they would.
Evita is at the Curve until 13th January. More information can be found here https://www.curveonline.co.uk/whats-on/shows/evita/
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Katie Reviews 