Evita as presented by Waterford Musical Society

Evita as performed by Waterford Musical Society:

Friday 3rd May 2024. 

This was my fourth visit to Argentina this season, and each of the four, while similar in ways, offered something different and something to challenge the critical eye. As with the previous three productions, this Evita was a great pleasure to watch and enjoy. 

The Theatre Royal, Waterford, has, for a long time, been one of my favourite venues. It has a great atmosphere, being both expansive and intimate, and when on that stage, one can almost feel the audience. I’m quite sure that the cast of Evita know exactly what I mean, for the audience for their beautiful presentation were enthusiastic and very appreciative of the production, the performances and the wonderful drama that unfolded in the telling of the story of Eva Peron. Director, Liam Butler, presented us, generally, with a tidy and familiar production, but managed to throw in a few surprises along the way. I was somewhat distracted by the set for the show, a series of columns, brick on one side and decorative on the other, but there didn’t always seem to be logic in their positioning on the stage. They moved a lot, but with the exception of the beautiful balcony at the start of Act Two, they always looked rather random. Stage management, under Shane Taheny, seemed to know where everything was meant to be, and worked diligently to keep the show running smoothly, but often I was mystified as to the location being suggested by various settings. In most other respects, this was a very coherent production, with the available stage space used very effectively. Good pictures were achieved, and the main action of the piece was always nicely highlighted. Particularly well-handled were the final scenes of the show, which were excellent in timing and atmosphere. The use of projected images for the montage was quite brilliant, and infinitely more successful than physically recreating the various numbers that the montage features. This was like Eva’s life flashing through her mind as she lay helpless and tormented in her bed. I loved it. 

The best tribute I can pay to Musical Director, Wayne Brown, is that I never noticed him, nor questioned his work or ability. I simply sat back and enjoyed the beautifully played music, which accompanied the show unobtrusively, like the soundtrack to a movie. I heard nothing that drew my attention in any negative manner, as tone, rhythm and balance all seemed to just flow together quite effortlessly. His orchestra were finely tuned and precise in their playing, and his vocalists did all that was required to present a delightful sound throughout the show. A very good job, all round. 

The chorus contribution to the show was of a high standard, both visually, with tidy and often energetic dance routines, and vocally, with very good and secure harmonies and precise diction. Their actions and reactions to the drama were natural and very believable. 

At the outset of the show, I was a little unsure of Paula Weldon in the role of Eva Duarte, feeling that she didn’t quite capture the youthful ambition of her character, but as the evening progressed, so did my admiration of her talent and ability. As she matured and easily seduced Peron, there was a passion in her performance that escalated until her illness slowed her down. From then on, her performance was awesome, culminating in a truly memorable and heart-breaking final scene. This was her best acting of the night. Throughout the show, however, there was a consistently good vocal quality on display, which more than convinced me why she was cast in the role. 

Dermot Keyes was the kindest Peron I have seen this season, with a very touching love for Eva, which seemed to break his heart as much as hers when she fell ill. This was a strong and steady performance, delightfully lyrical in his vocals, and with such a striking stage presence. Beautifully acted from start to finish. 

Brian Tuohy, similarly, had a very strong presence on the stage, and was quite powerful in his vocals, perhaps on occasions a tad strident. There were moments when I wished his sneer towards Eva would soften to show more compassion, even admiration for her achievement, but he was quite ruthless in his sardonic cynicism towards her. Nevertheless, his performance was extremely self-assured. 

Timmy Moloney captured the easily deluded character of Augustin Magaldi delightfully. His singing was of a very fine quality, if perhaps he needed to be more flirtatious in the execution of his song. He did very effectively project the annoyance and frustration of realizing that he had been little but a stepping stone for Eva. 

Lauren Cardiff displayed all the correct emotions of being rejected as Peron’s Mistress. Her delivery of “Another Suitcase” was beautiful enough to leave us wanting to hear more from her. 

The Children of Argentina sang divinely in Santa Evita, with perfect tuning and beautiful, clear diction. 

There was very good work done by choreographer, Ali Reville, particularly in the precise and military routines of the generals and the Aristocratic chorus. The Art of The Possible, Peron’s Latest Flame, and The Chorus Girl Hasn’t Learned Her Lines were delightfully regimented and classy in appearance, with simple but extremely effective patterns and movements.

There was great energy, too, in Buenos Aires, A New Argentina and The Money Kept Rolling In, which were all performed with energy and good accuracy by an enthusiastic chorus. In a show that doesn’t always stand out for its dancing, this was an engaging presentation. It was a nicely costumed show, with Eva always looking extremely stylish, good attention to the Generals and good work on the ordinary people. There was an almost Ascot-Gavotte look and feel about the rich peoples’ chorus, which was most effective, and another nice original idea. Hairstyles/wigs were very appropriate and well-managed. From a make-up point of view, the standard was very good, and the work done on the ailing Eva was most impressive.

The stage was nicely dressed with only essential furniture, and a very good array of banners, signs, flags and other appropriate props. The show was visually very attractive. 

The very delightful Chairperson, Seneiva Magill, gave me a warm welcome to one of my favourite theatres, and was attentive and hospitable throughout the evening. I’m indebted to you all for a most enjoyable night, and I only hope that you will keep striving to be your best and keep entertaining your audiences as much as you did with this lovely production.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Colin Shanahan