Whether the standing ovation that concluded Evita’s return back to the London stage was an appreciation for the performance of Madalena Alberto as the new Evita or for the play itself, was unclear. What is clear is that this biographical masterpiece still proves to be powerful and moving - the sublime melodies enough to justify the ambition and shere craziness of the idea that is Evita the musical; not least the fact that the Argentine flag will be hanging over a West End stage for a month.
Andrew Lloyd Webber and Tim Rice's last creation together traces the journey of an ambitious provincial girl, Eva Duarte, as she makes her way to the top, taking her military boyfriend Juan Perón with her, to become his wife, then First Lady of Argentina and, eventually, one of the most enduring political figures in Argentine history (still Peronism dominates Argentine politics, for better or worse). The revolutionary Che Guevara (oddly transported back a decade in history) acts as narrator and alter-ego to both Evita and Argentina's political turmoil.
No doubt the success of Evita’s return to the West End after a sell out UK tour, is largely down to the radiating talent of leading lady Madalena Alberto. Proving to be the rightful successor to Elain Page, the original Evita that helped cement the play's success, the Portuguese actress portrays Eva beautifully, bringing forward the character's vulnerability and humanity. Despite a script portraying Argentina's First Lady as power-hungry and ruthless, Alberto masterfully embodies both the feisty, dream-filled fifteen year-old and her fragile, broken self of 33. This striking performance summons both tears and awe, answered by Madalena Alberto's grateful smile and words of thanks, to be read on her lips through a thunder of applause.
Like her character, Alberto promises to spring from anonymity after her visit to the capital. She outshines her co-star Marti Pellow. Surprisingly, the ex-Wet Wet Wet pop star is not the strongest member of the cast; often rendering the words of his character, El Che undecipherable, as he narrates Eva and Argentina's troubles (he does portray the revolutionary's surly gruffness rather well, even though we don't know the real Che was that sullen). The other singers such as Matthew Cammelle, as Peron, Sarah McNicholas, as his mistress, and Ben Forster, as Magaldi, evoke powerful emotions through their rich and flawless voices.
The perfectly orchestrated scenes flow by without awkwardness: from military reunions to gala receptions. Matthew Wright's impressive set, reconstructs the Argentine context with ease (apart from a mis-placed ‘Floridita’ logo whose only connection would be that the real Che may have hung in the Cuban bar 10 years later). From the church arches during Eva's burial, to the famous balcony from which the president's wife addresses her people, Wright visually fulfils our imagination. Meanwhile, after a rather static opening with Eva's funeral, Bill Deamer's ingeniously orchestrated choreographies rivet our attention.
First showed in 1978 on a West End stage, Evita's latest apparition has made its mark. It brought more than 2000 spectators to their feet after the first performance. This Bob Tomson and Bill Kenwright production leaves us dazed and dreamy. One is sure to step out of the Dominion Theatre fully entertained, singing mentally or out loud Buenos Aires and the famous Don't Cry For Me Argentina. Many more standing ovations are surely to come.
