Gripping production of an Argentine heroine
IN the 40th anniversary re-staging of Hal Prince's legendary musical, and with a challenging lead played by all-time favourite Australian diva Tina Arena, Evita packs a powerful political and musical punch.
IN the 40th anniversary re-staging of Hal Prince’s legendary musical, and with a challenging lead played by all-time favourite Australian diva Tina Arena, Evita packs a powerful political and musical punch.
Charting the rise and demise of Eva Perón, wife to Argentine dictator Juan Perón, who is played by a commanding Paulo Szot, Evita emerges within a deeply divided society where the working class revere her active campaign for female suffrage and workers’ rights, while a privileged elite remain staunchly opposed to her continued efforts at societal progress.
In the play’s opening scenes, Arena’s stage presence seems a touch too demure for a first lady as passionate and ambitious as Evita, although her softer elegance may be with artistic intent, reflective of an earlier phase of character formation.
As Evita climbs her way to the pinnacle of Argentine society and acquires greater self-assurance in the process, Arena perfectly captures both Eva’s ruthlessness and her kind-heartedness in the second act, leaving the audience awestruck with her climactic performance of Don’t Cry For Me Argentina.
Striding gracefully along the presidential balcony resplendent in a billowing snow white dress, Arena claims centre stage, her loyalty and breathtaking beauty worshipped by the masses below.
As a magnificent collaboration between the best of musical theatre in the 1970s, the music of Evita is harmonious and lyrical in points, but discordant, even jarring, in others – perhaps to mirror the tumultuous Perón years, and the divisiveness that underpinned Juan’s Argentina.
Timely commentary on the power accrued by Eva and Juan is delivered by Kurt Kansley playing a strong-willed Che, while 8-year-old Alexis van Maanen’s professional debut as Juan’s mistress reveals a voice well beyond her years.
But the energetic force ultimately propelling the show forward can be seen in a superbly synchronised ensemble, featuring Jewish performers Anton Berezin and Alie Coste, and highly stylised choreography remains a timeless testament to Larry Fuller’s creative prowess.
As Jewish resident associate director Dan Kutner said, “It’s the society that was really affected [by the regime] so the ensemble plays a multitude of characters, and it is really the engine by which the show works.”
Despite the production’s sudden, somewhat underwhelming conclusion that offers no jubilant finale, Evita continues to stand as a beautifully constructed, captivating production in virtually all regards.
THEATRE REVIEW by Sophie Deutsch
Infoline
Book tickets at www.evitathemusical.com.au/tickets/sydney/
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