We had a magnificent week at MAST with Evita, with packed houses for every performance and wonderful feedback from audiences and reviewers alike. Some highlights from our reviews are included below.
But although we’re sad to say goodbye to this epic show, we’re excited to be moving straight on to rehearsals for Seussical the Musical. Tickets are available now and it’s sure to be another showcase of the wonderful talents we have on offer!
- The conductor (Teddy Clements) steered his musicians through the complex compositions with apparent ease and professionalism. The music blended seamlessly with the vocal skills of the performers.
- Toby Vanhaecke gelled the scenes together perfectly with a confident and charismatic display of his talents… For one so young, it was an exceptional performance.
- Laura Hill impressed me more as the performance continued. Her acting, her stage presence and above all, her voice. Laura’s voice carried the musical conversation between songs beautifully. She had obviously put in a huge amount of work into the role.
- Another highlight for me was the song performed by Peron’s three mistresses as they are sent on their way. Singing solos in turn under some well thought out and very effective lighting, their voices conveyed the desperation of their characters situation. Beautiful voices and beautifully acted.
- In a nutshell, the performance is a glowing testament to the talents we have in our city. From the obvious hard work during pre-production, to the backstage technical team and the cast themselves. I, along with the entire audience, enthusiastically applauded the show at the end of the evening as the cast took a well-deserved bow. Congratulations to everyone involved.
- Laura Hill did a fantastic job in the titular role. With impressive vocals and a commanding stage presence, she encapsulated the drive, charisma and passion of the character with ease. On the Balcony of the Casa Rosada (perhaps better known as Don’t Cry for Me Argentina) was stunning.
- Toby Vanhaecke was equally impressive as Che. He demonstrated great range and vocal ability, as he effortlessly guided the audience through the story.
- A New Argentina, to close Act One, showcased [the ensemble’s] obvious vocal talent, with exquisite harmonies and real attack.
- A kinder, almost affectionate interpretation of the individuals concerned sings through in this hugely innovative and enjoyable production under the expert direction of Victoria Luke and Musical Director Alex Teddy Clements. With minimal set, utilising a screen for information pictures and dates, the singing and musicianship of the performers interpreting this wonderful score and lyrics are allowed to take centre stage.
- So many good directorial touches including the 3 mistresses’ idea (the last mistress turning back to Che was so warmly tender), an exuberant interchangeable chorus who were all so “in the moment” throughout, the use of the bar and table settings at the front, costumes, authentic props (radio microphones etc) the seamless walking into positions by Che and others keeping a flow and style throughout have clearly been very well considered and planned. The last 20 minutes of the show I consider flawless; the changes of costume, the acting and final montage /lament being so well executed by all concerned.
- As Evita herself, Laura Hill sang brilliantly, the iconic Cry For Me song, You Must Love Me and the aforementioned Lament being particularly mentionable with excellent diction and comprehension of the lyric meaning. Giving Eva a more human touch was in keeping with the production values generally: no shrill coldness, but a more subtle revelation of guile for self-promotion which was skilfully done. The final matching pose against the portrait of the real Eva was quite emotionally beautiful.
- Mike Pavitt as Peron matched her in high performance singing and presence: his half-smile gazing at her with a warm smile during “Cry For Me” was beguiling, revealing either love or political satisfaction in that look. Peron was well aware of her “product” popularity and the look captured that perfectly. The “Art of the Possible” number was so well directed and acted by all the participants, Peron’s removal of the final chair viciously triumphant. To pop a bottle of champagne on cue was also impressive and the “Surprisingly Good For You” duet was a delight.
- Toby Vanhaecke as Che brought a less sardonic opposition than usually portrayed, going for an everyman interpretation with a vocal dexterity belying his age. He was on stage for virtually the entire show. Diction and tone were perfect.
- Liam Baker as Magaldi brought his excellent vocal talents to the role, expertly handling a guitar for “Night of A Thousand Stars” to Rich Spencer’s excellent instrument playing throughout.
- The three Mistresses were excellent, Freya Golding, Jo Pawlowska and Jamie-Louise Sim, each bringing their own character forward and a real sense of melancholy to “Another Suitcase” lyrics not exploited before.
- The band were so good, adding an extra layer of professionalism to this production in Alex Teddy Clements’ capable and talented hands. Pace and interpretation were just sublime at times.
- I have full admiration for SOS for taking on this iconic show and making such a success of it.
