For 50 years now, Andrew Lloyd Webber and Tim Rice have been entertaining audiences with an array of musicals, each having songs that have become stand-alone hits like the shows that they originated from.

Evita, currently playing at the Opera House, is no exception and although it is synonymous with one iconic song, ‘Don’t Cry for Me Argentina’, there are several other numbers just as good that rarely get any playing time.

And in this production from Porirua Little Theatre and Amici Productions, director Grant Meese, musical director Kate Marshall and choreographer Leigh Evans have pulled out all the stops to create an exceptionally professional production of Evita. [More] 

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As I sit waiting for this iconic pop-rock opera to start, I can’t help feeling jitters of excitement. Excitement because this is one of my favourite musicals; jitters because I am empathising with the performers waiting in the wings and curiosity to see how this Amici/PLT (Porirua Little Theatre) production will play out after much hype in the theatre community. 

EVITA is the story of Eva Duarte (Heather Wilcock) and her rise from rags to riches through to her premature death at the age of 33. 

The show opens with the news of her death and the outpouring of grief from ‘her people’ while Che (Matthew Pike) begins the narrative exposition in ‘Oh what a circus.’

Wind back to Eva aged 15 and we follow her story from escaping her lower class upbringing by following musician Agustin Magaldi (a finely sung cameo role by Ben Paterson) to Buenos Aires where she becomes an actress. There she uses her feminine wiles to climb the social ladder before meeting Juan Peron (Chris Crowe) at a benefit concert. She quickly dismisses his mistress (poignantly sung by Katie Evans) and supports Peron in his bid for presidency and her own elevation to ‘first lady of Argentina’.

From the first downbeat I can feel this production is securely in musical director Kate Marshall’s capable hands. She leads a brilliant line up of instrumentalists through the most fabulously written (some of Lloyd Webber’s best) and complex orchestrations; it is so wonderful to hear live strings rather than all synthesized – a luxury that is not often afforded these days in the pit.

The opening ‘Requiem for Evita’ is spine tingling: solid accurate harmony singing from the large ensemble chorus both on and off stage, with mostly excellent balance between parts, singers and band from sound engineer Glen Ruske.

Stephen Robertson’s set design is magnificent.  The towering pillars dominate the set and it’s open to interpretation whether they are standing for the power or threat of the church, military or the brutally judgmental upper class.  Stylistic platformed staircases fluidly transform to become various rooms and locations and the famous balcony, all lit with creative lighting from designer Nik Janiurek.  Roving lights shine heavenly shards on the crowd of mourners or cleverly turn the stark pillars into fabric-like back drops in the palace scenes.  

Dressed in Stephen Robertson’s stylish period costumes, the ensemble is excellent and very strong throughout, executing director Grant Meese’s artistic vision and Leigh Evan’s detailed choreography which has a gritty modern feel mixed with various motifs from Latin dance styles. Only occasionally the uniformity isn’t quite slick enough in the military dances, and that pulls the eye.

The children’s ensemble sings beautifully and brings heart and an authenticity by showing the importance of the family in Argentinian society.

The three main leads of this production are absolutely outstanding.

Heather Wilcock is mesmerising as Eva. She completely embodies this huge role with vocal precision and nuance, giving everything and more to and her character journey: remarkable from such a young performer. She is equally caustic, controlling and devastatingly heart-breaking and I particularly like her more understated delivery of ‘Don’t cry for me Argentina’, where it is all to do with the story and the manipulation of the people, not about a diva singing a show-stopping number. Don’t get me wrong – it is still a stunning rendition and the dress is anything but understated!

Equally, Chris Crowe is a commanding Peron. His wonderful vocal strength and clarity makes his Peron a more even match with Eva than in some productions I’ve seen. Their relationship is very clearly portrayed through the seductive tango and the journey through their rise to power, and on to Eva’s touching realisation that ‘You Must Love Me’ towards the end of the show (tissues needed). 

The importance of the storytelling is carried through the show and Matthew Pike’s portrayal of Che – narrator, devil’s advocate, conscience and the voice of the people – keeps this theme in focus with his calm and assured stage presence. His diction with Tim Rice’s clever lyrics is excellent and his voice soars through the many vocal styles required. ‘High Flying Adored’ shows off his lyrical singing and is especially beautiful and heartfelt.

This production, although technically a semi-amateur show, is well up there with any professional shows I have seen. The output and talent on and off the stage is fantastic. If anything, opening night had a slight cautiousness about it, but with that one under the belt, I’m sure the company will now relax into the Latin groove and trust they have a brilliant show that is well worth the night out.  

If you have never experienced the power of a Lloyd Webber/Rice rock musical collaboration – this is the time to do it. 

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