Evita (1993)
Evita was always going to be a momen¬tous undertaking for a school, even given the experience and depth of talent found in the ranks of the Adamson Theatre Com¬pany. It is musically complex and challenging to stage. The risk was worth taking; capacity audiences were unanimous in their acclaim of a masterly performance, one that stands out even in this company's distinguished recent history. Principal singers, chorus, musicians, stage and technical crews were as one in their resolute belief in the worth of the project, never faltering in their commitment through long months of plan¬ning and rehearsal. For the more than 2000 people who saw the show, the effort was worth it.
The orchestra, under the baton of a disarmingly unflappable and optimistic, John Lee, played superbly. They had to contend tor the first time with a full operatic score, some often perplexing timings and tricky rhythm changes; the score is extraordinarily varied in mood and musical style. Much credit for the show's success and appeal must be given to the orchestra's capacity to sustain the relentless pace of the music with such apparent ease and professionalism. Rarely has a ”show” band been seen in better light, and the veteran Chris Sherman's lead¬ership in this area warrants acknowledge¬ment.
Naturally the show depends in a large part on the strength of its leads, and the quality and evenness of the talent on display was truly exceptional. Sarah Purdey gave the performance of her Wesley career as the ”back street” girl Eva Duarte, 'scratching and biting' her way to the top of the Argen¬tinian political tree, a female tyro in a male centred world. Hers was an utterly convinc-ing portrait of ruthless ambition; beguiling sexuality and strangely moving naiveté. Sarah's outstanding vocal and dramatic tal¬ents were at last able to be given fullest ex¬pression in this demanding and now legendary role. As Peron, Bryan McQueen- Mason was the perfect consort, almost a foil for the dynamic Evita. Musically the part demands this; it is a difficult role, never quite centre stage, as Peron, strangely un¬nerved at times by the drift of events, is pulled finally into the historical spotlight. Bryan's rich baritone and superb control evoked Peron's combination of bravado and hesitancy in a compelling way. Jeremy Meltzer was a wonderful crowd-pleasing Magaldi; his velvet voice perfectly suiting the tango singer's mix of sleaze and oppor¬tunism: ”On This Night of a Thousand Stars” was a show stopper. So too was ”An¬other Suitcase in Another Hall”, the painful lament of Peron's mistress which is really an elegy for all the disenfranchised women of Argentinian society. This role was performed on alternate nights by Allison Hammet and Kirsten Lindsay, both singers of terrific range and depth, and each brought to this haunting song a sense of fra¬gility and poignancy.
The part of Che, the narrator and satiric observer of Evita's political fortunes, is long and exhausting, making heavy demands on the vocal skills and durability of the per¬former, the production was served magnifi¬cently by Robert Svars and Dean Bryant who played the role at alternate perform¬ances. Comparisons would be invidious; each brought particular aspects of their own personality to the role, as might be ex¬pected. But both boys displayed effortless talent, making the more of Che's many great songs, and keeping the audience fully engaged with the dramatic developments. The chorus — the 'people of Argentina' — were the backbone of the show and pro¬vided tremendous vocal support, featuring in all of the opera's many great moments. Never has a 'chorus' been so busy, or re¬quired to show much virtuosity, slipping in and out of the many and varied supporting roles. They were, in turn, the snooty and aloof Argentinian aristocracy, reviling the upstart 'chorus girl' Evita; or the mechanical and misogynistic junior officers of the Ar¬gentine military; or Peron's scheming politi-cal cohorts; or trade union activists and the dispossessed 'descamisados', the Argentinian under-class. The whole fabric and texture of this society was there on the stage, beauti¬fully created as individuals and groups by tal¬ented singers and actors, giving the whole production extraordinary power and depth. It would take too long to name them all, but each should be deeply satisfied with his or her contribution to the show's richness. Among the ATC stalwarts to be glimpsed in a variety of featured roles were Lauren Bialkower, Lenny Bennett, Claudine Collins, Georgia Falcke, Becky Franklin, Paul Havea, David Imber, Shami Page, Andrew Phillips and, of course, Joe Lewis, whose musical knowledge and stage pres¬ence enhanced many a number. It was also good for the future to see some Year 10 tal¬ent emerging through the ranks and we can doubtless expect to see a lot more of Suzy Axup, Adam Danby, Claudia Frew, Michael Hammet, Kath Salter and Anna Whithear.
The specialist dance group — a few of whom are now in the veteran class — per¬formed with their customary polish and ”Buenos Aires” in particular was an excit¬ing, vibrant routine. Indeed, the show throughout never lost the necessary pace to sustain the dramatic momentum, so crucial to counterpointing the ”dying fall” of the opera's final moments. Tracy Ogle's chore-ography was a marvel: who will forget the ”Rainbow High” and ”The Rainbow Tour”, which utilized so breathtakingly those dazzling, swirling screens?
The production team once again worked harmoniously and energetically to ensure that nothing was left to chance in its pursuit of excellence. Margaret Arnold managed the singing with the sort of ease and devotion to her students that is rightly cel¬ebrated; Timothy Smith assisted the vocalists with energy and expertise; Sabino Del Balso's lighting was unifomily striking and dramatic, enriching the play's powerful themes, while Rohan Smith's sound crew managed to achieve the sort of clarity that truly enhanced the vocal talents; and the legendary trio of wardrobe mistresses, Stephanie Des Barres, Margaret Hilditch and Jill Welch handled the huge number of costume changes with imagination and flair. For Direction, Dawson Hann and Tony Scanlon, Evita was their eleventh successive collaboration on a musical, and they should be well satisfied with the result. The tight¬ness and fluidity of the direction, which nonetheless allowed the performers to en¬gage spontaneously with the passion and drama of Evita's life, testifies to the continu¬ing productivity of this partnership.
