THEATRE REVIEW AMATEUR - Romiley Operatic Society EVITA The Plaza Theatre, STOCKPORT

The Plaza Theatre in Stockport is both beautiful (it retains the original Art Deco design throughout), and, from a theatre company's perspective, awkward. The stage is long but very narrow, and the back wall of the stage is the solid rock from which the theatre was hewn. Theatre companies coming to the Plaza therefore need to bear this in mind in terms of staging. Romiley Operatic Society have performed here many times before, and yet, this evening's production of Lloyd-Webber/Tim Rice's 'Evita' utilised a set - reminiscent of the original set design for the London opening - which was actually too big for this stage and caused several problems. We were shown a design on two levels. A central acting area behind which a raised platform, utilised almost exclusively for the coffin sequences. Around this was a raised walkway jutting out on both sides in the shape of a squared-off letter C. All this was in black, with the only concession being the grey metal of the safety railings. With a large cast, and some excellent and ambitious choreography, the room the performers had to move around was simply not enough. When it looks squashed and cramped, then it probably is. Directed by Dawn Leigh, little or no consideration was given for the time it takes the actor/actress to ascend or descend the steps from the balcony to the main stage, and oftentimes dialogue and even singing was lost in this changeover. Furthermore, it was never truly obvious what the motivation was for the character to suddenly move from one place to the next, other than the "look" of the show. Finally, a large screen (or was it two separate screens) were used on the rear wall centrally between the two gangways and behind the catafalque. Unfortunately this did not work as well as perhaps Leigh had hoped. Some of the images projected on here were definitely on the dark and dim side, and therefore did not give off the opulence and grandeur that it should have done; some of the images were almost hidden behind the black coffin area and so only the very tops of the pictures were visible; and finally, some of the moving images, especially those of falling petals or flickering candles upstaged and pulled focus from the actual scenes going on in front of them.

Leigh's direction (along with costume designs by Janet Newcombe and Annabel Reyes) was very monochrome/sepia  [black and white with a dash of various shades of brown!} A highly stylised and clinical production, full of imagery and tableaux, which if it hadn't have been for Gary Jones's energetic and authentic choreography, would also have been a very static one. His staging of 'The Art Of The Possible' was one of the clearest and cleanest I have seen. Paul Lawton's excellent musical direction kept the show in check, and although some of the songs seemed to have been deliberately slowed down just a tad, the sound was superb, and the sound levels all evening were fixed just right. Lighting design by Ian Legate was creative, but, perhaps with this being opening night, several failed to hit the spot. (forgive the obvious pun!). Cast were often in shadow when they should have been lit, and the cues were late in coming, but this can easily be resolved for further performances. 

And now to the acting, which was, by and large, superb. Heading this talented cast was Louise Colohan as Eva Peron. In the early scenes when she was still Eva Duarte, another actress portrayed her, Evie Moran. As good as Moran was, I still do not understand why two actresses were necessary. However, once we were accustomed to Colohan, we were shown a young woman full of determination, power-hungry, and ready to do anything - including prostitution - to further her own political aims. Her private moments of insecurity on the balcony scene were a joy! We then saw a woman in torment, and pain, and her denouement was excellently measured. A powerful singer and dominating actress who tried extremely hard to be as close to the real Eva Peron in movement and thought as possible. Juan Peron was an upright and angular, unswerving Paul Allison, who spoke-sang much of his text, which surprisingly worked and worked very well indeed, and I truly enjoyed his rigidity. Gary Jones was a very personable Che; he has a great stage presence and his characterisation of this "mere observer of this tasteless phenomenon" who darts in and out of the actual action always commenting on it pushing the narrative forward, was again superbly placed. I am uncertain as to why he was not Che Guevara, and did not wear the camouflage jacket etc that we associate with this character, but instead he was just another descamisado who just happened to be called Che - but despite my slight reservation in this regard, Jones made this work, and gave a truly outstanding performance nevertheless. Magaldi was played by John Harrison, and although obviously an actor very much at ease on stage and performing, he was far too well-dressed, upper-class, and perhaps also just too good a singer! Amy McWiggan was Peron's mistress, and her brief appearance and solo were nicely and skilfully performed.

The chorus/ensemble singing was solid and clear throughout and the harmonies came through nicely. The young children were used a few times, but their moment in the spotlight came in the second act for 'Santa Evita', when two of the young children were given a solo (a nice touch!) and this was lovely. 

Overall, a very proficient and enjoyable production, but without menace or any real threat of violence from either the army or the mob which I felt it needed, but truthfully and sincerely portrayed by a truly talented cast.

Reviewer - Alastair Zyggu

on - 25.3.25