Evita revival - Curve Leicester Christmas 2023

[BurlyBeaR]

Don’t make me go to Leicester again … 😕

[marob]

I know what you mean. Lovely theatre. Pain to get to. Never seen Evita though. And those 1pm Sunday matinees are looking quite tempting.

[richey]

Nov 27, 2023 23:03:52 GMT BurlyBeaR said:

Don’t make me go to Leicester again … 😕

My sentiment too

[BVM]

Nov 27, 2023 23:02:36 GMT elfman1 said:

Just seen the first preview and I thought it was a very strong production. The opening was simply stunning if you’re sitting in the first few rows on the door four side of the auditorium you’ll get a surprise at the start of oh what a circus. All the cast were great but I thought Chumisa Dornford-May gave a great rendition of another suitcase her mistress came across as verydefiant throughout. Well worth a visit if you can make it

Sounds good.

What was the set like?

And the staging in general; traditional of more modern/abstract?

I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black!

[elfman1]

Nov 28, 2023 12:28:37 GMT BVM said:

Nov 27, 2023 23:02:36 GMT elfman1 said:

Just seen the first preview and I thought it was a very strong production. The opening was simply stunning if you’re sitting in the first few rows on the door four side of the auditorium you’ll get a surprise at the start of oh what a circus. All the cast were great but I thought Chumisa Dornford-May gave a great rendition of another suitcase her mistress came across as verydefiant throughout. Well worth a visit if you can make it

Sounds good.

What was the set like?

And the staging in general; traditional of more modern/abstract?

I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black!

The set was bare with a movable staircase for set pieces and walkway above the stage that could rise up and down. Used a lot of live video. Staging was much more modern than previous productions with some songs having very modern concepts for the staging (less the waltz for Che and Eva and more the interview of Che and Eva). The ensemble do mostly wear black however it does have more colour than it looks with the upper classes in persons latest flame being very colourful.

[BVM]

Nov 28, 2023 12:54:17 GMT elfman1 said:

Nov 28, 2023 12:28:37 GMT BVM said:

Sounds good.

What was the set like?

And the staging in general; traditional of more modern/abstract?

I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black!

The set was bare with a movable staircase for set pieces and walkway above the stage that could rise up and down. Used a lot of live video. Staging was much more modern than previous productions with some songs having very modern concepts for the staging (less the waltz for Che and Eva and more the interview of Che and Eva). The ensemble do mostly wear black however it does have more colour than it looks with the upper classes in persons latest flame being very colourful.

Interesting. Thanks very much for describing!

[mkb]

What is it with this current fetish of directors to massacre reliable and accomplished musical theatre works? Nikolai Foster has form with Billy Elliot, and now this. (I skipped his Chorus Line after hearing feedback.)

Given the preparation time involved in a production like Evita, it simply isn't possible that Foster hot-footed it down to the Savoy and knocked up a Jamie Lloyd clone, so one can only conclude that this is coincidence and the way "modern" directors are all thinking these days in the wake of Ivo van Hove, but the Belgian at least has some theatrical flair and generally a rationale to his artifices.

For Evita, we have a completely bare stage, apart from a giant staircase that is on, then off, then on again, then swung around distractingly, and so on, repeated ad nauseum. There are occasional tables with chairs. (That's to say tables that appear occasionally, not a multitude of occasional tables.) There's a suspended walkway across the width of the stage which lowers from the rafters when needed, including one scene where it crushes the crowd underneath who writhe like dying flies. (Cue unintended laughter.) The set is completed in one sequence by some upstage curtains, of which more later, and, at various times, by a vertical video screen.  And that's it.

That's not quite right. I forgot to mention a rectangular platform in the middle of the stage that rises up high three or four times, initially bearing Eva Peron's coffin. Unfortunately, it wobbles rather alarmingly, and I was fearing for the safety of Tyrone Huntley's Che Guevara when stood atop it.

Foster likes to illuminate his protagonist, and I mean really illuminate her. There is a plethora of lights in constant movement, and a whole cluster facing out. Because the audience is looking directly at them, your eyes mainly follow the equipment rather than their effect. This is most definitely a show for the TikTok-heads who are easily dazzled.

There is an oft-repeated device in musicals where a scene is set on a theatrical stage and a pair of curtains closes across the upstage area. As viewers, we can be made to realise that we are looking at the backs of those curtains from the players' perspective out to the imagined audience beyond, or looking at the front of those curtains from the same vantage point as that audience. The device I am alluding to is where the scene transitions quickly from front perspective to rear perspective, or vice versa. So as not to confuse us, the effect can be achieved by literally spinning the curtains around; it can be done by changing the backdrop behind the curtains and the props in front; it can even be done remarkably effectively just using lighting changes. Foster's technique is simply to switch with no hint that it has happened. It is confusing and bizarre.

I could catalogue a litany of similarly ill-judged directorial decisions, but it's too depressing to recount.

Clearly the budget here does not extend to West End levels, so there is just the one handheld Steadicam and another floor-standing camera (on wheels and moved frequently, of course). The technical gurus at the Curve have not mastered how to screen live video without a quarter-second delay. Tip: do not let your Che stand directly in front of the screen clapping his outstretched hands, as this makes the lag rather more noticeable than it needs to be.

The bulk of the cast are costumed in hi-top, all-black Vans and slim black jeans, with black vests for the men and t-shirts otherwise. The male actors have evidently been selected for their physique, good looks and bulging biceps, which they show off to excess. Which is not to decry their acting, dancing or singing, as they all pass muster on those fronts. It's just that this feels more like a homoerotic parade of Chippendales at times. (That can work in, say, South Pacific, but in Evita? Really?)

Naturally, Foster’s Eva Peron is bisexual, flirting and frottaging with either gender. In that role, Martha Kirby has a good voice, but her Eva needs to be more captivating. Gary Milner as General Peron is believable and stands out (and not because of his double-breasted, pinstripe, navy suit that screams cheap-as-chips David Dickinson). The rest of the cast do their best under bad direction.

Any other version of Evita is fascinating for its tale of a poor, illegitimate, working-class girl sleeping her way to the top, and commanding the adoration of the masses, a real-life phenomenon, a cult of personality. We are meant to question whether there is any altruistic element behind all of the self-interest. Can she be pitied? Sadly, most of that is buried in Foster's staging.

Those unfamiliar with the story may struggle to follow the narrative, as Tim Rice's fast-paced lyrics are not given any helpful context in many scenes from the usual visual clues of scenery, props, costumes, etc. I suspect some will not even have realised the historical identity and symbolism of our narrator. Che’s attire says French 60s New Wave with the addition of a beanie hat. Che is important in the piece as a spokesman for the proletariat -- a reminder to Eva of her roots -- and, more importantly, as her conscience. All of this is lost in translation here.

Some of the synchronised stage movement and choreography works, but there are moments when it comes across as awkward, and detracts from rather than adds to the intended mood.

Audience reaction during the first act was decidedly tepid, with those numbers that had a punctuation where applause is expected receiving an embarrassingly muted response. A nine-minute show-stop put paid to any building of momentum. Act two was better received, the audience no doubt assisted by interval libation and a renewed determination to make the best of a night out. Of course, provincial crowds at musicals will ovate at the slightest excuse in these X-Factor-influenced days, but I did not see anyone rise. Very telling. You might get away with pretentious onanism in the capital -- in fact you'll often be feted for it -- but the less-youthful theatregoers in the regions are not so forgiving.

Two stars.

Act 1: 19:36-19:52 <show stop> 20:01-20:38
Act 2: 21:01-22:00

[141920grm]

As the stage was huge and basically completely bare I actually didn't like how much I saw. Way too much waiting around onstage by the rest of the cast, ostensibly as 'onlookers' but obviously just to push around a bit of the set at the next cue, or to get in place in advance for their next number. The scale of the lighting rigs was impressive but got predictable quickly. The bridge was used to nice effect, especially in 'Don't Cry for Me Argentina'; the staircase overused and lit somewhat tackily for 'Rainbow Tour'.

Unlike the mystique and drama Sunset's minimalism is able to pull off, this Evita's staging somehow manages to be empty and unfocused during all other scenes when they're not beaming every single spotlight onto Martha- whose performance really shone alongside Gary's Peron.

[BurlyBeaR]

Poll added.

[BurlyBeaR]

There was the same issue with video delay at Curve’s A Chorus Line. It’s hugely distracting and whatever they’re trying to achieve with it is thrown away because it doesn’t look right and detracts rather than adds. The fact that Sunset Boulevard doesn’t have this problem means it’s technically possible so is that because more money was thrown at it? If that’s the case and other productions aren’t in a position to invest whatever ££ is needed for to be perfect then I wish they would just leave it out. 

The rest of it sounds horrible too. Thanks for the detailed review mkb .

[Daffodil]

The two ladies next to me who had not seen Evita before told me they had been undecided whether to return after the interval as they could not follow the story.

[justsaying113]

This sounds hideous...on so many levels. And, if people can't follow it, then Foster should hang his head in shame because - say what you like about the original material - it is a lean and fantastically linear piece of storytelling. The fact it's engaged audiences across the world for 45 years proves that. Just leave well alone.

[SuttonPeron]

What a shame. It´s easily ALW´s best work, and an extremely solid material.
I do hope the orchestra wasn´t the 9-piece reduced version with canned click tracks...

[mkb]

To be entirely fair, as author of the unflattering review up-thread, I should add context. I am one of the 16 people on here with one/two-star votes for Sunset which also carries an astonishing 114 five-star ratings currently. There's every chance that the latter set will enthuse over Foster's Evita. In fact, I can't think why they wouldn't as the two shows are so similar in style. And here, the lead is acting a role rather than playing herself, which is a plus.

[mkb]

Nov 29, 2023 12:20:35 GMT SuttonPeron said:

...I do hope the orchestra wasn´t the 9-piece reduced version with canned click tracks...

The programme lists nine players. There's also an assistant MD with no instrument specified, so represumably just a cover for the MD.

[SuttonPeron]

What a shame!

[thistimetomorrow]

I loved Sunset (gave it 5 stars), but I didn't like this anywhere near as much (or at all tbh).

I felt it was quite messy with people not necessarily doing their choreographed moves in time (although given it is previews maybe the choreography will be ironed out) and some of the movement just felt unnecessary or didn't feel like it fit the show.

The camera work here felt out of place and gimmicky whereas in Sunset I felt like it suited the story telling? The only points here where I thought it worked was when they used it for Eva's 1st broadcast after meeting Peron (the song name escapes me). There were also various points where the camera was just pointing at the stairs or random floor moments and the big stationary camera at the back didn't do much. The screen showing the camera work also would start coming up and down mid projection so the lighting rig or staircase would block parts of it?

I wasn't entirely sold on the cast either. Martha can definitely sing the score, but I'm not sure about her portrayal as a whole. Tyrone felt a bit miscast here generally. I didn't like the Magaldi at all, but I was a fan of the Mistress. Peron was not bad also.

[theatregod]

Yes, it’s the same 9 piece with pre recorded backing tracks. The same as the previous tour from what I understand.

[cezbear]

I hated this. I hate saying that because I absolutely love Evita but found very little to like here. Although I didn't much like the Regents Park production either, and people loved that if I remember correctly? Vocally everyone was good, and Martha had some touches I liked, but overall I was disappointed I made the trek for this. mkb's review said it better than I will (I'll add for reference I DID like Sunset though).

[BVM]

Be good to hear from the other people that gave it 5 stars!

Certainly I thought the production pics released today looked much better than some of the descriptions above.

I am very sorry to hear about a 9 piece orchestra though as the Adelphi and OAT musical direction and orchestration were sensational.

[mrbarnaby]

God it looks dreadful in those production shots.

[mkb]

So what do I know? I treated four family members to tickets for tonight, bought before I'd seen it myself. I had to apologise and warn them to set their expectations low. And they've just been in touch to say how much they enjoyed it. And they would be honest, so it's true. So there's hope for others.

I'd love to hear a perspective from the five-star raters who have remained silent so far.

[BVM]

4 (four) stars from What’s On Stage.
2 (two) stars from The Guardian.

Going next weekend to see for myself!
I do rather like the pics though as I quite like no sets where you see the innards of a theatre combined with big lighting designs. Much more than hideous cheap cardboard sets anyway.

And certainly muscle men in black vests don’t usually make things worse.

I do see the unfavourable comparisons to Sunset though but will reserve judgment until I’ve been.

[theatrefan62]

I'm surprised how good the production images look, but it does look a Jamie lloyd/ivo van hove rip off. And I question how good it actually looks on a big stage. Close up images are easier to make look good

[cezbear]

I actually like the photos a lot more than I liked the show. Apart from that green dress.