OXOPS' Evita at Oxford Playhouse - review

Oh what a circus, oh what a show! OXOPS (Oxford Operatic Society) has gone to town with Evita.

★★★★★

Evita is a classic of the megamusicals, widely regarded as one of Andrew Lloyd Webber's best works. It's also notoriously difficult to sing, melodically and harmonically challenging. Did OXOPS pull it off? To quote the show: "Let's hear it for T̶h̶e̶ ̶R̶a̶i̶n̶b̶o̶w̶ ̶T̶o̶u̶r̶ OXOPS' production of Evita / It's been an incredible success". The run is already sold out, so you can't get tickets this time, but watch out for their next production as it will be worth a visit.

Evita tells the story of the rise of Eva Perón from her humble beginnings all the way to her status as "Santa Evita", the Spiritual Leader of Argentina. Narrated by the everyman character Che, we follow Eva's career as an actress and her move into politics through her relationship with General Juan Perón. The production is at a near-professional standard, something I expected from my experience at Calendar Girls but was still impressed by. The principals are capably backed up by a sizeable ensemble, who take on roles ranging from the aristocracy to the working-class descamisados, Eva's main fanbase.

Ligia Padrón Acevedo sings the part of Eva beautifully and captures the depth and complexity of her character. She is not merely a ruthless social climber; Padrón Acevedo also portrays her vulnerability and humanity, particularly in the second act. The director, Chilina Thurlby-Brooks, notes in the programme that this is "an Evita for 2023", embracing her complexity. Dave Crewe as Juan Perón is suitably soldier-like and precise, but his and Eva's relationship is very believable, and his tenderness with the dying Eva shows his love for her. In smaller roles, Guy Grimsley is very funny as the somewhat disgruntled tango singer Agustín Magaldi, and Anna Hughes makes the most of her brief but touching appearance as Perón's Mistress; "Another Suitcase In Another Hall" is a melancholy but beautiful moment, with the lonely Mistress wandering the stage and pondering what to do next. But it's Benjamin Ashton as Che who really propels the show along, guiding the audience through the action with funny asides and well-timed sarcastic comments, delivered in a smooth singing voice.

The choreography is a highlight of the show; the group numbers such as "The Money Kept Rolling In (And Out)" and "Rainbow Tour" are particularly impressive, making the most of the big ensemble. The dancers are perfectly coordinated with each other and these numbers are a joy to watch. I particularly enjoyed one part where Eva joins in the ensemble dance and emerges front and centre by the end of the number, a perfect metaphor for her storyline in the show. The number "The Art of The Possible" is staged with a dancer (Rachel Haydon) representing Argentina, who chooses a leader by dancing with the various candidates and eliminating them one by one. It's a very elegant, creative portrayal of the process, which also shows off Haydon's dancing skills.

The production design is simple but effective, a simple set aided by atmospheric lighting and dry ice. The set consists of two staircases joined by a walkway at the back of the stage, representing the balcony of the Casa Rosada from which Eva gives her famous address to the Perón supporters in "Don't Cry For Me, Argentina". The use of scrims to hide and reveal scenes was particularly effective - appropriate for a woman whose real life and motivations remain somewhat mysterious. The live band brings Lloyd Webber's score - complete with all its many changes of key and time signature - to brilliant life, and adds to the atmosphere and energy of the show.

This production of Evita is classy, heartfelt and beautiful. I thoroughly enjoyed it and would recommend that you don't miss OXOPS' next production!