Review – Evita 2006

“VOS’s Evita strong at the core, thanks to talented principals”

By:	Adrian, Times Colonist Staff
For:	Evita
Who:	The Victoria Operatic Society
Where:	McPherson Playhouse
When:	April 2006
Rating:	3.5 out of 5

Published: Sunday, April 30, 2006

Evita Peron was a political powerhouse in the 1940s and '50s. Adored by the downtrodden, feared by her enemies, she was an incredibly charismatic figure -- and one of the most powerful women of her time.

What better subject, then, for the dynamic duo of Tim Rice and Andrew Lloyd Webber, who created the West End/Broadway hit loosely based on Peron's short life. Even if you don't know this musical or its film version (starring Madonna and Antonio Banderas), you can't have escaped Evita's famous Don't Cry for Me, Argentina -- her passionate love song to her homeland.

A talented group of core cast members navigates a difficult song list rather well, making this Victoria Operatic Society production of Evita worth seeking out. Like Phantom of the Opera, this is a sung-through musical, as opposed to having spoken dialogue. Overall, the piece is a real challenge, especially for a community troupe, yet the VOS has -- with Peron-like chutzpah -- risen to the occasion. Platinum blonde Tara Britt manages to make Eva Duarte de Peron (Evita to her friends) both imperious and vulnerable. Naturally, on Friday night the audience sat in anticipation of the climactic Big Song in Act II (even though Rice/Webber make sure we hear snatches of it at every street corner leading up to it). It was worth the wait.

Slim and attractive, Britt materialized like a film star for this scene -- beautifully lit from above -- wearing a snow-white gown. Clad in elbow-length gloves, she held her arms aloft in a 'V' to sing Don't Cry for Me. It was a fine rendition, with Britt's slightly throaty timbre imbuing the familiar melody with a welcome frisson.

The success of the show is definitely an ensemble effort. No one impressed more than Chris Newstead, who as Che Guevara not only sang with commendable clarity and pitch, but anchored the stage with powerful, theatrical acting. Dwayne Gordon, playing Agustin Magaldi is an especially notable singer. From his first number, On This Night of a Thousand Stars, he displayed an attractive, strong tenor and a thrilling ability to absolutely nail high notes (the voices of other performers sometimes thinned out in the upper register). Gary Moss, as Juan Peron, is another solid performer.

Stage director Chris Moss and conductor Robert Cooper keep the proceedings moving at a brisk clip. The set is simple but effective. It is, essentially, a timbered bridge on castors which is easily moved to suggest different scenes. It works very well. At the same time, despite a large and well-rehearsed chorus of singers and dancers, it seemed more could be done to make Evita a visual extravaganza. This needn't cost the earth. For instance, a scene in which peasants held up placards and political banners were unfurled was highly effective.

Elsewhere, archival slides are projected on the back wall -- I think even more could be done with this effect.

Thankfully, Adam Wilkinson's elaborate yet understated lighting is a tour de force. We realize this right from the opening scene, in which clever back-lighting gives the sense of a crowd at the cinema. Each and every sequence is thoughtfully lit, seemingly from all directions. Wilkinson, a theatre veteran, knows the McPherson Playhouse like the back of his hand. It shows.

The music, a pop-rock score with Latin flourishes, is played by a 22-member orchestra wedged into the Mac's tiny pit. In fact, one percussionist is relegated to a hall space outside the pit. On Friday, it seemed that the drum kit occasionally slipped out of synch with the singing -- but again, that might be related to an less than ideal listening set-up for the musicians.