‘Evita’ – A Made at Curve Production at Leicester Curve Theatre

Friday 1^st December 2023

‘Evita’, the musical phenomenon by Tim Rice and Andrew Lloyd Webber, is back! This stage behemoth chronicles the life and loves of Argentina’s real life legendary first lady Eva Perón. It is the fascinating (and at times terrifying) ‘rags to riches’ story of a woman born into small town poverty, who somewhat controversially romanced her way up through the upper echelons of society to eventually become First Lady of Argentina. She was an actress, a radio star, a politician, and a freedom fighter. She fought for women’s votes and broke down many barriers. She also privately fought illness and all the associated anxiety. She died aged just 33 leaving behind a legacy that was wholly conflicted. A Marmite character if ever there was one. And if you’re impressed by the whirlwind that she created in life, you should read about what happened to her body after death. But I digress…

This amazing story first came to the attention of lyricist Tim Rice while he was driving to a dinner party. A Radio 4 documentary about Perón captured his imagination and he was so taken by the story of this short but impactful life that he teamed up with his collaborator Andrew Lloyd Webber and the pair wrote a rock opera concert album on the subject. This was back in 1976, only twenty-four years after the death of the lady in question. The album was so successful that it wasn’t long before the show arrived on the West End Stage. Since that first Hal Prince production there have been a number of iterations, including a 1996 film starring Madonna.

This Made at Curve production, directed by Nikolai Foster, promises to please those who loved the original stage concept, while at the same time seeking to bring something new and fresh to the piece. As we await curtain up I cannot wait to see it.

The first thing to note is the simplicity of the set. The space here at the Curve is utilised to perfection. The ‘black box’ staging allows for the actors to do the storytelling without any cumbersome scenery that can sometimes be distracting. As a result, the scenes flow quickly and seamlessly and there are no awkward scene changes to endure. Set Design by Michael Taylor (who also designed Curve’s own Billy Elliott The Musical) really does not disappoint. I especially enjoy the use of the staircase which serves to emphasise the social climbing of Eva and the use of the pedestal which rises from the floor upon which she is often seen. We really are encouraged to look up to her! The lighting design (Joshie Harriette) complements the simplicity of the set to perfection. Lighting is used with aplomb to frame scenes and draw our attention to the mood. The pairing of light and set are masterful and give a very modern feel to the action.

Evita is a ‘sung through’ musical, which means that the nine-piece band under the musical direction of Ben Van Tienen and musical supervision of Stephen Brooker really do have to drive the action. And boy do they drive the action! Tienen and the team of musicians skilfully navigate their way through a wide range of musical genres, tempo and time changes and mood swings, all the while supporting and accompanying (and never overwhelming) the performers. There is not a moment in the show when they can relax. The music is relentlessly perfect.

The role of Evita is played with sublime elegance by Martha Kirby. Kirby makes it all look so effortless. She embodies Eva Perón completely – the passion, the emotion, the determination to reach the top, and the ever-growing anxiety about the impending end. This Eva Perón has echoes of some of the strong and determined media influencers of today – a professional personable individual in front of the camera but also a sharp and determined campaigner with an appetite for success behind the scenes. The use of live action filming and a video wall relay gives us a sense of the Eva that is seen by the world and a feeling of being behind the scenes of it all too. Kirby makes Eva completely relatable which is no mean feat. When she sings ‘Don’t Cry for me Argentina’, that anthemic centrepiece of the evening, the audience is simultaneously heartbroken and delighted.

Our guide for the evening is Che, the narrator of the action played by Tryone Huntley. He is an everyman character, representing the voice of the people of Argentina, and the voice of this audience too. He is one of us. Huntley gives him a wonderful versatility. He is at some moments a participator in the action, a member of the media crew behind Eva’s campaigns, and at other moments an observer and commentator. He questions authority. He is eminently likeable. His ‘High Flying Adored’ duet with Kirby’s Eva is beautiful.

Eva’s first love, Augustin Magaldi (Dan Partridge), is energetic and enthusiastic, and the audience adore him. ‘On this night of a thousand stars’ brings giggles and sex appeal in abundance.

Playing Juan Perón, the president who will take Eva all the way to the top, is Gary Milner. Milner gives him gravitas and dignity while at the same time embodying that fickle cunning and ‘charm’ that so many of these men in power today seem to exhibit. Juan Perón is always surrounded by his henchmen who intimidate and sneer at the audience. The threat of violence is never far away, serving to remind us that this is actually a really rather unpleasant outfit.

Juan’s mistress (Chumisa Dornford-May) demands all of our attention as she sings ‘Another Suitcase in Another Hall’. Dornford-May invests this piece with such energy – the emotional impact is breath-taking.

The principal cast are supported ably and with such professionalism by an ensemble (including Curve’s Young Company Team Circus) who help paint the picture and set the scene. The choreography by Adam Murray is exquisite, especially in the blending of the movement of dance and marching during ‘And The Money Kept Rolling In’. The company are placed so stylishly upon the stage in each moment with the effect that every scene is a feast for the eyes and ears. The costumes (designed by Edd Lindley) are modern and fresh.  This really is a story for today.

It’s now more than 70 years since Eva Perón died. In many ways she was a conflicted person, a manipulator of the media ahead of her time but adored by the masses as one who sought change for the better. I think that this production is a true homage to her remarkable story, but it is so much more than a staid study of an historical figure. It is a piece that has relevance to audiences today. It is a dynamic telling of the story that calls on us to look beyond the superficial in the world of celebrity politics and social media and to search for substance beyond style. Where much that is hailed as exciting theatre is based on understanding and yet subverting expectations Nikolai Foster and Curve’s Evita proves an exquisite and dazzling piece of musical theatre.

Catch Evita at the beautiful Leicester Curve until Saturday 13^th January.