Evita, Opera Australia and John Frost and David Ian, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday December 27th 2018
"Evita" was presented by Opera Australia, John Frost and David Ian at the State Theatre, Arts Centre Melbourne, on Thursday December 27th 2018
I have seen "Evita" twice before when originally produced in 1980 at Her Majesty's Theatre Melbourne, where the theatre had been decorated with elaborate banners either side of the proscenium arch. At the State Theatre, there was no decoration inside the theatre, though they had a specially set up Argentinian themed bar in the Arts Centre forecourt.
Tina Arena is amazing, though she appeared to be checking with the conductor more regularly than other musicals I have attended. Checking the position onstage with her marks was also very obvious. Our audience neighbour highlighted both of these aspects to me. I had noticed this too but was loath to say to a stranger. Admittedly, it was the day after Boxing Day and she may have had a few days off. So I will forgive these observations for ensuring a consistent quality performance.
I found Tina Arena committed to her objectives with a sense of purpose for each scene. Though, the relationship with other characters seemed a bit distant at times.
Paul Szot as Peron was vocally commanding with his rich voice. He lacked the physical commanding stature of Peter Carroll.
Kurt Kansley as Che looked more the part and sang quite well. I longed for a combination of Kurt Kansley's looks, with John O'May's original purposeful conviction, and rebel interpretation both in acting and singing.
The Mistress was played superbly by Alexis Van Maaen, though a little more street smart than the original innocence of the Australian original. The use of atmosphere exercises could enhance this scene even more, as the staging was pedestrian.
Michael Falzon as Magaldi lacked any sex appeal and charisma. Compared to Tony Alvarez who oozed and made audience members swoon or shift in their seats to take notice. He had a television audience following that highlighted the requisite stature of the role.
The whole cast need to give a sense of atmosphere. The atmospheres should change with each scene, and there was sameness in the quality. Some Michael Chekhov atmosphere ensemble exercises may assist!
Choreography by Larry Fuller was accurately reproduced for the steps. Technically the dancers were superior in technique to the original but lacked any emotional or sense of atmosphere or occasion. Many seemed to be going through the steps. The military section had appalling lines and needs a good drilling to reinstate the crispness. Yes, you can be seen in the back row, and yes, you can stand out if it is not sharp.
Set Design by Timothy O'Brien was similar to the original 1980 production, minus the smooth transitions between scenes of trucks loading the new sets. The State Theatre allowed for the sweeping height of the set to be fully exposed. The stage tracks were used for the delivery of sets from upstage, while I remember sets being slid on from the sides (rather than being carried on by the cast!)
Costumes, also designed by Timothy O'Brien are functional for the ensemble. As I thought with the original production the poor or working class characters lacked the honesty of some grime or holes, thus highlighting they were just costumes rather than people's clothes. Eva Peron's costumes are magnificent.
Lighting Design by Richard Winkler was realised by Trudy Dalgleish. Some of the lighting needs refinement for the transitions between scenes.
Musical Direction by Guy Simpson was slick, even with the drummer chewing throughout. (Maybe to keep his energy up as it is musically a demanding show.) One yawning player was a bit off putting. This is the bonus of sitting in the front row! The orchestra did not sound as rich as my original 1980 viewings.
The choral singing was excellent, but lacked passion. Individuals at times hit the occasional bung note. This is understandable as "Evita" is one of the most demanding of musicals. Plus, the more enclosed Her Majesty's Theatre Melbourne encased the sound to enhance the majesty of the score, rather than getting lost in the more spacious State Theatre.
"Evita" feels dated with the sluggish transitions between scenes. The lighting highlighted the sense of waiting for the next scene and was very clunky at times. Maybe an update to include some more fades could have assisted with the flow.
I am glad that I saw the show again.
"Evita" felt like an academic production.
Overall, "Evita" obtained a 7/10.
