Posts with the label evita
Showing posts with label evita. Show all posts
Showing posts with label evita. Show all posts
Friday, 3 August 2018
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
Tuesday, 17 July 2018
Evita (UK Tour), New Victoria Theatre | Review
Evita (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 17th July 2018 by Olivia Mitchell
★★★★
Classic musical, Evita has been thrilling audiences in the UK and around the world since it opened in 1978, winning the Olivier Award for Best Musical. Multiple re-incarnations have allowed various portrayals of the iconic characters and different takes on the tale of Eva Perón. Despite not having a huge amount to compare to, having only seen the 1996 movie and 2006 West End production, I don't hesitate saying that this current tour helmed by Lucy O'Byrne, Glenn Carter and Mike Sterling has created an almost perfect production and showcases the music and story of Evita wonderfully.
Not only was tonight Evita's opening night at the New Victoria Theatre but was also the opening night for the three leads who each do an outstanding job. Mike Sterling commands the role of Juan Perón with power and fight whilst also showing off a softer side with his wife. He is vocally wonderful and complements Lucy's voice well. As Che (in some productions based on Che Guevara, and others as working class Everyman base of Peronism) Glenn Carter is versatile. A strong voice and all-knowing-rock-god-vibe means he brings a unique but perfectly suitable strength to the role.
As the leading lady, Lucy O'Byrne grows and blazes as Eva Perón. Starting out as a 16 year old who knows what she wants to a dying politicians wife, O'Byrne's transition is breathtaking to watch. Stand out moments include Rainbow High and You Must Love Me which show the drastic differences between Eva's character. Lucy performs the role with passion and drive whilst maintaining brief innocent moments. Her vocals grow as the character does and her stellar diction means we don't miss a word of the fast-paced passages.
Bill Dreamer's choreography brings to life the world of Argentina and cleverly moves us from one moment of action to another, whilst, Matthew Wright's sets and costumes create a vibrant world which draws you in from the opening. The fairly simplistic sets echo the world of the Perón's and at times provide a stark contrast to the glamour of Eva.
It's hard to pick fault with such a strong production but one thing in particular strikes me as odd: the decision to give the entire cast English accents. This doesn't take away from the performances at all but feels like a bit of a cop out, and makes us forget the show is set in Argentina at times.
However, overall this production is well thought out and does a brilliant job of bringing Tim Rice and Andrew Lloyd Webber's music and lyrics to life once more. This show is not glitz and glam happiness, but it is a raw and moving story which should certainly be seen. Stellar music is brought to life by a magnificent cast who make Evita a must see!
Evita runs at the New Victoria Theatre until July 21st before continuing it's tour.
photo credit: Keith pattison
Wednesday, 18 April 2018
Evita (UK Tour), Storyhouse | Review
Evita (UK Tour)
Storyhouse
Reviewed on Tuesday 17th April 2018 by Becca Cromwell
★★★★
Set mostly in 1940s Argentina, Evita focuses on the life and death of Argentinian actress turned political figure Eva Perón. Eva Duarte is a budding actress who tries her luck in Buenos Aires and ends up dating and eventually marrying Juan Perón. The first act of the show tells the tale of the Peróns’ rise to power in Argentina, with the focus on Juan Perón’s election as president and Eva becoming the First Lady of Argentina. In the second act, we see the aftermath of Eva’s ‘Rainbow Tour’ of Europe, which ends in her health declining, and eventually her death.
From the beginning, I was captivated by the sheer talent on the stage. The entire cast gave an utterly heartbreaking and incredibly moving performance, which will take me a long time to forget. As with a lot of Bill Kenwright’s productions, the set was minimalistic, but it worked. Although there were a few technical issues, which are expected from the first night, the show ran smoothly. The ensemble and child cast were astounding, with all of them giving great performances. The dance sequences were mesmerising and the harmonies were more than impressive.
Eva Perón was played by Madalena Alberto, who made it look completely effortless. Madalena is known for playing Eva in the Dominion Theatre and London Palladium productions and on a previous UK Tour of Evita. From the beginning she gave an impressive performance, even managing to keep her vocals flawless as she was crying.
Che, played by Gian Marco Schiaretti, is the narrator of the show. He spends most of the show observing and narrating the public’s view of what is happening, which brings depth to the story and the characters. Known for playing this role in previous productions, Gian gave a convincing performance and hit the high notes flawlessly.
Perón himself is played by none other than Jeremy Secomb, who is most known for his impressive list of West End credits, including hit roles such as Javert and Sweeney Todd. Jeremy gave a vocally fantastic performance, and exuded raw emotion throughout. He brought the part to life and made us really feel for him towards the end of the show.
Evita is definitely not a show to miss, and the UK Tour continues until June. Grab your tickets whilst you can.
photo credit: Pamela Raith
Saturday, 9 December 2017
Evita (UK Tour), Palace Theatre Manchester | Review
Evita (UK Tour)
Palace Theatre, Manchester
Reviewed on Thursday 7th December 2017 by Jeni Skirrow
★★★★
Tim Rice and Andrew Lloyd-Webber have written some truly captivating, catchy musicals and Evita is of course iconic and no exception to this. An ever popular rags-to-riches type of story based on the life and demise of Eva Peron, wife of Argentine president, Juan Peron. The plot follows her rise to iconic status heralding her as the ‘spiritual leader of the nation’, heroine of the Argentine people, and of course her untimely premature demise.
Straight from the West End, Manchester was privileged to be the first stop in the new twelve month tour of Bill Kenwright’s production. Eva Peron’s role is a demanding performance and Madalena Alberto is mesmerisingly magnificent, with not just unfalteringly consistent vocals, but how beautifully she captures the fledgling radio star’s glamour, seduction, hope and steely desperation. 'Don’t Cry For Me Argentina' is undoubtedly the most highly anticipated song in the show and Madalena’s performance did not fail to give me goose bumps- exquisite. “As for fortune and for fame, I never invited them in”... until the final curtain there’s something very dubious about this statement.
The narrator Che deserves a mention, heroic Gian Marco Schiaretti’s presence (and biceps) were suitably foreshadowing- he is perfect for the role. His strong and versatile performance was a joy to watch.
Each scene was beautifully realised through expert choreography, cleverly slick staging and continual costume changes for Eva, telling a story within itself. This production was everything I hoped it would be and more. Emotional, beautiful and inspiring it was an ideal theatrical experience.
Evita is a moving story, with a mixture of up-beat, high intensity numbers as well as slower, more emotionally moving pieces. This balance and contrast makes it flow smoothly and provides a wonderful night out at the theatre. With beautiful music, great staging and fabulous performances all round, I implore you to get along to this show if you can.
Photo credit: Keith Pattison
Wednesday, 16 August 2017
In Conversation With... Emma Kingston | Fiddler on the Roof | Interview
In my opinion, Emma Kingston has one of the absolute best voices on the West End. I've been fortunate enough to see her in a number of shows and concerts, including Les Miserables, In The Heights and most recently, the stunning Fiddler on the Roof at the Chichester Festival theatre. Emma was kind enough to sit down and discuss Fiddler, After Anatevka, her hidden passion and more...
Have you always aspired to be a performer or did you have a different dream when you were younger?
I've always wanted to be a performer. I used to sing Les Mis and Anything Goes with my dad all the time.
Have you got any hidden passions you’d like to pursue?
I love Psychology! As an actor I love getting inside a characters brain. I studied Psychology at A Level and I would love to further my understanding of why people are the way they are. Furthering my study's would interest me as well as it being useful as an actor.
What drew you to the role of Hodel in Fiddler on the Roof- are the two of you alike in any ways?
I'm jewish, so growing up Fiddler was always being quoted around the house. I used to watch the film with my grandma. Also, ‘Far from the Home I Love’ was the first song I ever sang in a singing lesson when I was 11.
How is this production bringing something new to the well-loved musical?
We are so lucky that our production in Chichester has amazing new orchestrations by David White and new choreography by Alistair David, bringing a fresh take on the brilliant musical.
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| Sam MacKay (Usnavi) and Emma Kingston (Vanessa) in In The Heights |
Do you feel any extra responsibility or pressure playing one of the few explicitly Jewish female characters in musical theatre?
I feel a responsibility to show the traditions in a way that people of other cultures can relate to. I want to show people that Judaism is a way of life as well as a religion. The community aspect for me is so important.
What’s your research process like for each role you take on, has After Anatevka helped add a new dimension to your portrayal?
For Fiddler I dived into researching about Russia pre 1905 and Russian attitudes towards jewish people. Also looking at Jewish culture in shetles in Russia. My paternal grandparents were children of immigrants from Lithuania and Oddessa, so I had lots of family history to draw on.
After Anatevka I am enjoying so much, especially now I understand so much more about Hodel. I’m loving reading her journey after she leaves home, and how Alexandra has filled in the parts of Fiddler that we don't see in the musical.
If you’d written After Anatevka would you have given Hodel the same after story?
Alexandra's story has portrayed so many aspects of Hodel's life during the Fiddler story and after that I thought about a lot. Especially the way she highlights her relationship with her sisters and Perchik. As I'm reading, I feel that the story all completely slots into place and I can't imagine her next journey any other way.
Tradition is obviously the central theme in Fiddler. Do you have any family traditions?
My family traditions are the Fiddler traditions! Every Friday night my family and I get together for a shabbat meal. We celebrate Jewish festivals like Rosh Hashana (Jewish New Year) and Yom Kippur (The Day of Atonement), Passover and many others.
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| Emma Kingston (Hodel), Simbi Akande (Tzeitel) , Rose Shalloo (Chava) in Fiddler on the Roof |
How do you keep your voice healthy? Do you have any vocal rituals?
Drink endless amounts of water and concentrate on centring your breathing.
If you had a magic wand, which show would you do next?
After Fiddler, I'm playing Eva Peron in the Hal Prince production of Evita, international tour and I can't wait! My mum is Argentine, so it's a huge bucket list role, much like Hodel in Fiddler is!
Whats a fun fact people might not know about you?
One of my first words was Archemeaies (the owl from sword in the stone) my parents were so proud haha!
What’s your best piece of advice for an aspiring performer?
Don't compare your journey to anybody else's. Be original. I read a quote by Steve Martin "Be so good they can't ignore you”, to me that means work as hard as you can on being the best you can be.
Thank you so much Emma for taking the time for this interview. Fiddler on the Roof runs until September 2nd.
Read my review of After Anatevka here and keep an eye out for an interview with Alexandra Silber and a giveaway!
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
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