Evita

What a performance! Evita at the Palace Theatre is a triumph

Like Evita, we’ll start at the end, with the thunderous applause, standing ovation and tears, yes tears, from lead character Sophie Grogan as the waves of adulation broke over her and the rest of the cast.

Amateur company? Pah, make no bones about it, Redditch Operatic Society have once again pulled off a show gleaming with sheer professionalism. Lord Andrew Lloyd Webber and Sir Tim Rice can rest easy with this production of their classic. Mind you, casting firm favourite David Steele in the role of Che/narrator meant we were guaranteed a good evening’s entertainment. His voice as ever was perfect, and boy could he  do the dance moves as well.

But it takes more than one person to pull off a show, so take a bow the chorus whose combined voices made for some truly spine-tingling moments, especially in the scenes of adulation for Eva.

Everyone knows ‘Don’t Cry for me Argentina’ to the extent it tends to overshadow the other numbers in the show, so it was delightful to hear Rhiannon Lee Street’s rendition of ‘Another Suitcase in Another Hall’. Pitch perfect it sent me scurrying for the Barbara Dickson original when I got home. And yes, it stood fair comparison with the Seventies hit!

Super chef Paul Mitchell once again shone, this time in the role of Agustin Magaldi, the man who ‘discovered’ Eva Duarte, while Ritchie Smith brought real gravitas to the part of Juan Peron, the president of Argentina who became her husband.

And what about Eva herself? Well, Sophie Grogan’s performance gripped and dominated the production throughout. Her stage presence demanded attention and there was no denying this was her show. Those top notes certainly put her voice to the test – ROS have cast two Evas for the run – but she came through with her head held high – a truly bravura performance. Her acting was superb too and the emotion she brought to the part, particularly in the finale, tore at the heart strings.

Evita runs until this Saturday, November 25 and no wonder tickets are selling like hotcakes – get yours before they’re all gone.

Ross Crawford, Redditch Standard

An incredible success

I always like to quote a lyric, so ‘let’s hear it for the Rainbow Tour, it’s been an incredible success’ and I suspect there will be something very similar quoted about this production of Evita by Redditch Operatic Society, it’s slick, it’s moving and it’s thoroughly well received by an enthusiastic audience at the Palace Theatre in Redditch.

Lower class actress Eva Peron (played – now let me try and find the right word – quite exceptionally in every facet by Laura Woodall) fights her way to the top and spiritual leader in 1940s Argentina only to pass away before she can achieve everything she wants to.

Taking us through the story is the narrational role of Che Guevara [sic], Marxist revolutionary and not convinced by the whole ‘she is the saviour of our nation’ rhetoric, another stunning performance in every way from David Steele.

Evita, as Eva is lovingly known by the massed population of Buenos Aires, is not averse to stepping on a few people to get what she wants, usually men who are beguiled by her charms, and first to be used as a ‘stepping stone’ is Augustin Magaldi, suave, sophisticated tango singer and a pitch perfect performance from Paul Mitchell. But, he is just the first of many, as Che will convey, ‘goodnight and thank you whoever’ to all the others!

Finally managing to become ‘surprisingly good’ for military leader and soon to be President, Juan Peron (a commanding yet appropriately sensitive performance from Ritchie Smith) her ambitions of national domination are realised, even if the upper classes would sooner see her ‘behind the jewellery counter, not in front’.

She has one final hurdle to overcome in the form of Peron’s current young companion, she is never given a name other than ‘The Mistress’ and gets one opportunity to make an impact with the much loved ‘Another Suitcase in Another Hall’, an impressive vocal from Rhiannon Lee Scott in this role means her brief time on stage will never be forgotten.

Having conquered Argentina why not Europe and Eva embarks on a tour of key nations. She excels in Spain, sadly less so in Italy as the locals liken Peron to Mussolini, France is relatively impressed and she is snubbed by the English (oh the irony as we love this musical). Losing her energy she returns to Argentina and a rapturous welcome only to collapse and the end is not far away.

Many of the songs are recognisable, obviously ‘Don’t Cry for Me Argentina’ but, equally ‘High Flying Adored’ and ‘You Must Love Me’ all performed to a superb standard under the leadership of Tony Jay – Director, Joe George – Musical Director and Paula Lacey – Choreographer.

There is an extensive supporting cast, too many to mention by name, but they all combine to make this an atmospheric and emotional piece of musical theatre that any theatregoer cannot fail to enjoy. Big shout-out to the children at this performance, Sofia Postolenko, Maria Postolenko, Carina Vallera-Satchwell and Rosie Woolfenden for a touching performance of the number ‘Santa Evita’.

Seriously recommend that you get yourself rolling, rolling, rolling down to see this one, you’ll regret it if you don’t.

Tim Hodge, Musical Geek

A production of the highest standard

Can you believe it’s 45 years since Andrew Lloyd Webber and Tim Rice’s Evita first opened in the West End? How time flies, and how great that Redditch Operatic Society has chosen to recognise that landmark with its own production of this now classic musical. It’s been something of a labour of love for director Tony Jay to bring this show to the Palace Theatre stage, and I’m pleased to report that it’s one that paid off magnificently.

Evita charts the life of Argentine political leader Eva Perón, the second wife of President Juan Perón. The story follows Evita’s early life (including her many affairs, amusingly summarised here), her rise to power, charity work, and death. It struck me that the Peróns were perhaps an early example of the cult of personality that has taken over politics, which has culminated in the rise to power of the likes of Johnson, Trump, and – in a timely coincidence – Argentina’s Javier Milei.

The show opened with a black and white Pathe newsreel showing (spoilers!) the reaction to the death of Eva Perón, and the outpouring of emotion that followed. The curtains then rose to reveal a spectacular, multi-level set, complete with ornate balconies and multiple exits and entrances.  This very impressive set provided a superb, flexible backdrop to the performances, and really set the scene for a production of very high standard.

As Che, the narrator who takes us through the tale, David Steele was an assured, likeable presence with a nice droll style and smooth singing voice – perfect to draw us in to the story.  From the moment he opened the sung-though show with the famous ‘Oh What A Circus’, we knew we were in safe hands.

It wasn’t long before Eva appeared on the scene, and Sophie Grogan took up the role with relish. Noticeably growing in confidence as the show went on, she was particularly strong in the quieter, personal scenes, clearly demonstrating Eva’s ruthless ambition as her relentless social climb began. The famous showstopper ‘Don’t Cry For Me Argentina’ was impeccably delivered, and she was also very good in the later scenes, in which Eva’s body disintegrated even as her will stayed strong.

Ritchie Smith was also very good as Juan Perón, whose journey up the slippery slope to power was amusingly presented via a game of musical chairs.  I liked the contrast between the early scenes, in which we see Perón as a wide-eyed, lovestruck character swept along in Eva’s slipstream, and those later sections where he gains and attempts to cling on to power.

Paul Mitchell was spot on as Agustin Magaldi, an early conquest of Eva’s. He was completely believable as ‘the sentimental voice of Buenos Aires’, both looking and sounding the part, and his singing was excellent.

Evita features a great cameo opportunity in the form of the song ‘Another Suitcase in Another Hall’, as Peron ejects his mistress in favour of Eva. It’s an opportunity that Rhiannon Lee Street absolutely aced, with a superb performance, both vocally and emotionally, and it garnered a well-deserved ovation from the audience.

The principals were supported by a large company of featured characters, ensembles, dancers, and children. They all enhanced the group scenes immeasurably, with very composed performances across the board. This show provided ample evidence of how those playing even the smallest roles can have a real impact. I particularly liked the crowd scenes as the Peróns made their way to power, with the adulation of the people very clearly shown (as was the fact that only men were allowed to vote!)

The play was well directed by Tony Jay, with Paula Lacey contributing some excellent choreography. To pick out just a few highlights, ‘Perón’s Latest Flame’ included some great synchronised movement amongst the ensemble (no doubt hours of rehearsal, right there on stage), and ‘A New Argentina’ brought the first half to an impressive end, complete with Les Mis-style flag waving.  In the second half, ‘Rainbow Tour’, a complicated number providing a great showcase for Che, was executed brilliantly by the whole cast.

Alongside the top-notch performances from the cast, the backstage sound, lighting, props (all those flags!), wardrobe and make-up teams all delivered brilliantly. The lighting, in particular, was so atmospheric, perfectly enhancing the action. Musical director Joe George led a twelve-piece band expertly, delivering the complex musical score without missing a beat.

All of which added up to a presentation of this musical that felt perfectly judged. This was a production of the highest standard, of which all involved should be rightfully proud.  My congratulations to the whole Society, and I look forward to seeing you again next year.

Chris Davies, NODA Representative, Worcestershire East

A great production with some wonderful effects

I spent Friday 24th November with Redditch Operatic Society and their production of Evita. A great production, with some wonderful effects.

The cast were excellent, and I must congratulate them all, including the chorus for their truly excellent diction. No easy feat but I heard (and enjoyed) every single word.

All in all a great show well directed and played.

Many congratulations to all concerned both on stage and off for a great show and thank you so much for inviting me and so allowing me to share it with you.

Christine Hunter Hughes, NODA National President

I wasn’t able to find where to leave a review but I wanted to write one for you… I went today (2.30 show) and my goodness oh what a show! The leads were mind blowingly amazing. The cast were fantastic and it was an amazing performance! Congratulations to all involved!

An audience member

Huge congratulations on an outstanding performance of Evita. It was truly amazing and very professional! Wishing you every success with the remaining shows I’m tempted to see it again!

Jan Duffin

We thought the show was utterly brilliant, flawlessly performed and totally professional. It is a great credit to you for producing and directing such an undertaking to perfection. I can’t even begin to imagine how you do it! It was a very moving story and had the audience at the end giving a standing ovation! So thanks again to you and all the wonderful cast.

Richard Gittins

To the whole cast of Redditch Operatic Society Very many thanks for the extremely professional performance of Evita on Saturday evening, very well done to everyone, absolutely brilliant.

Linda Channon

An absolutely superb production!

Louise Coombs

Brilliant show all were magnificent. Wouldn’t be out of place on the West End.

David Edmonds

What an incredible show. No other words. ROS you did yourselves proud as always.

Sally Richards

Well done all! Great show tonight. Amazing vocals!

Rachel Ganderton

We were first going to present Evita in November 2021, but then you-know-what struck and the resulting lockdown meant that our intended 2020 and 2021 productions were postponed. Thankfully, The Really Useful Group allowed us to carry forward our license for the show to November 2023, when we presented it without a hitch!

Evita is an extremely fast-moving show, with tons of things to do for the chorus. Including the legendary principal roles, everyone taking part in the production was kept incredibly busy.

Chairman and, on this occasion, Director Tony Jay had planned the show in advance for years. And all that planning paid off in spades, as we delivered a first class production that rightly garnered superlative praise from all quarters.

Joe George and Paula Lacey returned to us as MD and Choreographer respectively – both of whom really had their work cut out, with Joe leading a band who never stop throughout the show playing, arguably, Andrew Lloyd Webber’s best ever score, and Paula creating some incredible dance routines for the eager chorus. The production team was augmented by Jean Chalk, as production assistant and costume mistress, and Scott Woolfenden who joined us as accompanist and assistant MD – both doing sterling work.

We made the decision to have two actresses play the role of Eva a long time in advance – even before Covid hit. We didn’t want understudies. We wanted two deserving people to share one of the biggest, most demanding and iconic roles in musical theatre. And both Sophie and Laura pulled it off superbly, not only delivering stunning performances on stage, but supporting each other throughout rehearsals and show week. The rest of the principals were unequivocally brilliant, too. It really was a cast to die for.

The company loved being in the show. Not only because they were pleased to be so busy, but also (there were fewer of them in this particular production than we usually have) because there was more space both on- and off-stage, as well as a totally positive and friendly atmosphere throughout.

Evita was a complete triumph in every sense. The reviews, from official sources and general audience members, were universally positive. The show achieved a very respectable 83% fill. And we recommend it without hesitation to any other societies looking to present a really special show.

Songs

• Requiem/Oh What A Circus
• On This Night Of A Thousand Stars
• Buenos Aires
• Goodnight And Thank You
• The Art Of The Possible
• Charity Concert
• I’d Be Surprisingly Good For You
• Another Suitcase In Another Hall
• Peron’s Latest Flame
• A New Argentina
• The Balcony Of The Casa Rosada/Don’t Cry For Me Argentina
• High Flying Adored
• Rainbow High
• Rainbow Tour
• The Chorus Girl Hasn’t Learned
• And The Money Kept Rolling In
• Santa Evita
• Waltz For Eve And Che
• You Must Love Me
• She Is A Diamond
• Dice Are Rolling
• Eva’s Final Broadcast
• Montage
• Lament

The Background

Evita was the third and final major collaboration between a (still very young) Tim Rice and Andrew Lloyd Webber. After a couple of not-very-successful early shows they had their first hit together with Joseph and the Amazing Technicolour Dreamcoat, and then a few years later the mega-hit that was Jesus Christ Superstar.

They were looking for a new project when Tim Rice caught a radio show about the life of Eva Perón – the first lady of Argentina – which intrigued him so much that he travelled to Buenos Aires to do more research.

There he learnt more about how this young woman from an impoverished background arrived in Buenos Aires and began to work her way up the social ladder, using whatever means were at her disposal. She became a radio and film actress on her way to meeting President-to-be Juan Perón, and later becoming his wife.

Eva was despised and sneered upon by the rich, mistrusted by the military, but absolutely adored by the general population – the peasants and the workers. Before her death at just 33 years old, she became – and continues to be to this day – the most famous woman in South American history.

Tim Rice thought her story would make a fantastic subject for their next musical, and Andrew Lloyd Webber, who relished the idea of combining his passion for rock music with latin flavours such as tangos and paso dobles, quickly agreed.

Like Jesus Christ Superstar before it, Evita was first conceived as a concept album. It was released in 1976, and it was from this album that the first recording of the show’s best known song, Don’t Cry For Me Argentina, was released. It was performed by a singer called Julie Covington (whose name might be familiar to perhaps the older ones amongst us) and went to Number 1 in the charts.

After that promising start, plans began to present the show on stage as a fully-fledged musical. Legendary theatre impresario Harold Prince was approached to direct, and Evita the musical opened in the West End in June 1978. It played there for the next eight years.

Julie Covington, who sang the role of Eva on the concept album, didn’t want to commit to a theatrical run. So began a wide search to find a suitable leading lady, with the role eventually going to a then-unknown Elaine Paige – providing her with her first major starring role.

Capitalising on the success of Evita in London, the first Broadway version of the show opened the following year. Elaine Paige had hoped to reprise her role on Broadway, but American Equity was having none of it. In her place, another relatively unknown performer called Patti LuPone got the role – and that was the start of her celebrated, ongoing success in musical theatre.

In 1996, and with the show still being performed around the world, the film version was produced starring Madonna in the title role. Directed by Alan Parker, and also starring Antonio Banderas and Jonathan Pryce, it was a big success and Madonna’s vocals were widely praised. Tim Rice and Andrew Lloyd Webber also wrote a brand new song for Madonna to sing in the film called You Must Love Me – which went on to win an Oscar for best original song, and which has since been added to the score of the show.

In 2006, a completely re-designed version of the show opened in the West End, this time starring an Argentine actress called Elena Roger as Eva. This new version subsequently transferred to Broadway in 2012, where Elena Roger reprised the role, this time joined by Ricky Martin playing the role of Che. Many modern productions of Evita are now based on this version of the show.

Music by Andrew Lloyd Webber
Lyrics by Tim Rice

Originally directed by Harold Prince

An amateur production by arrangement with The Really Useful Group Ltd.