Evita graces the South African stage this spring with dramatic and musical aplomb, standout performances and nostalgia. It is a fitting tribute to the saint who sinned; Eva Peron of Argentina.

In South Africa

Pieter Toerien Productions has brought the beloved Webber/Rice opus to South African audiences after 30 years. And it has been greeted with wild cheer and ovations as stellar performances by the lead cast and chorus narrate the life and times of the ever controversial Eva Peron. 

Of course, who could forget such memorable pieces as the heartwarming, fervent ‘Don’t Cry for Me Argentina’ chanted atop the balcony of the Casa Rosada? This aped the original ‘balcony appearance’ of Eva in the 1940’s before her legion of worshipers; now forever immortalised on celluloid by Madonna.

The Madonna film definitely brought a new popularity to the famed opera, especially with a younger audience, and it is difficult not to compare certain performances with the film.

Simplistic but Effective Staging and Production

Firstly if you are expecting lavish set designs and set changes, this is not that kind of production. Performed on the smaller stage of the original Pieter Toerien Theatre (and not the larger Teatro) at Monte Casino, this is an intimate show which relies more on simpler staging and lighting to enhance and bring the drama to life.

One sees the expressions on the cast’s faces and it becomes a symbiotic relationship, to a point where you never realise that, indeed, there are no elaborate set changes. There is just a clever use of space, an effective revolving stage and excellent lighting similar to the ‘chiaroscuro’ style of cinema or photography in which light and dark contrasts are effectively used to create a certain mood or theme.

Stellar Cast

The cast exceeds expectations with Angela Killian brining her very own impressive stamp to the main character. It’s intriguing how make up and hair are so important in character development. By the time we see ‘Eva’ in full regalia, Killian is simply glorious. She uses her voice effectively as she changes gears through her full range and falsetto and turns in an emphatic and believable ‘Evita’.

James Borthwick is perfectly cast in his role as the ‘Mussoliniesque’ character ‘Colonel Peron’ and his voice certainly overshadows that of Jonathan Pryce’s Peron in the film, which I found to be too weak for the character he was portraying. Bothwich has that strong presence, which is essential to convey the power and authority of the character.

Show-stopping Moment

Another show-stopping moment with one of my favourite numbers, ‘Another Suitcase in another Hall’, is performed by the heavenly soprano/actress Lynn Thomson (who plays the mistress). Anton Luintingh gives vigor and slick charm to the tango singer character ‘Magaldi’

My only ‘problem’ with the casting is perhaps that of ‘Che’, who is played by the young Kenneth Meyer. I found his performance a tad incapacitated and boyish, making this important role a bit feckless. Perhaps I’m being biased here, but when I think of the dark haired, olive skinned Antonio Banderas, who played this role in the film, I feel Meyer pales in comparison.

I must however give him thumbs up for his consistent performance – one of the most difficult in the show. By the second act he certainly grew on me and, if there was one song suited to the yearning tone of his voice, it has to be the melodic ‘High Flying Adored’ – a beautiful moment.

Timeless Story

Evita, the musical about the little bastard girl with wide-eyed dreams of leaving her poverty stricken childhood behind, is indeed timeless. The audience always has last say, and, with full houses each night, they are clearly saying welcome back EVITA….forever high-flying and adored!