-- THE ROSE B~WL AWARDS FOR AMATEUR DRAMA s, MUSIC NAME OF COMPANY NAME OF PRODUCTION VENUE BMYP, Bristol Evita Redgrave Theatre, Bristol DATE Wednesday, 24 April 2013 ADJUDICATOR Barbara Smith PRESENTATION SET including STAGE FURNITURE and PROPS A very simple but extremely effective and versatile Set consisting of a moveable two level wooden construction with steps leading to the upper level and with regular wooden struts supporting from below, and this against the surrounding Blacks of the stage area. This flexible structure afforded the setting of the many scenes and locations and at the same time was used to maximum effect for the excellent groupings on various elevations. I appreciated the use of drapes thrown from both the upper and lower levels to project images and also colour for background - for example throwing the red drapes from the upper level for the San "Juan Appeal, and later the white drapes as a background for the dying Evita which set a clinical hospital atmosphere and then mood enhancing with colour projection. The Newsreel projections and images of Evita were well managed and followed the drama, and the Props of Banners, Candles, Placards, and the Chanel Boxes for her Rainbow Tour were again in fine style and enhanced the scene. All this technical aspect of the production was excellent and worked effortlessly into the style and presentation of the piece. STAGEMANAGEMENl Again a first class input with smooth transitions with the various placements and angles of the wooden structure for the various scenes and locations, and this input added greatly to the fluidity of the production. SECRETARY: MRS JEAN HARDlNG. 11A Hill ROAD, ClEVf.DON. BRISTOL BS21 1Nf. TELEPHONE: 01215814432
---------------------- -2- There must have been a very well rehearsed and disciplined stage management with both input from Performers and ASM's. All sound and lighting cues well prompted and the quick costume changes for Evita superbly managed by both Wardrobe and Backstage. Excellent management LIGHTING The overall lighting respected the atmospheres of both location and emotion with subdued and localised input and then bright washes, and the use of spot was excellent and well controlled. All cues and cross fades well effected. At times I was a little overwhelmed with harsher colour input - for example in the 'Goodnight and thank you' piece where the red/gold on the Set was supported with a blue striped floor gobo, and the use of the strong even colours especially on the drapes - but this is a minor thought and strong LED's do have this undiluted effect. Excellent effect for the Magaldi 'On this night of a thousand stars' and the use of silhouette for the Cinema scene, and also the use of sensitive subdued lighting for emotional scenes. Another fine technical input. SOUND The sound input was excellent with all mics perfectly balanced and especially with the level for the Orchestral backing. The pre-recorded sound effect of the train was fine, Another first class input with perfect levels. COSTUME & MAKE-UP The costume detailing was superb and perfectly capturing the era. I appreciated the strong make-up and bright lip colour popular at the time, Hair styles were very good for both males and females apart from the blonde Evita wigs which were not convincing with fit, although styling followed her images, and unfortunately her hats did not alway S sit well. The slick hair and moustaches for males very well styled, and the Military Uniforms all very good and well fitting, and the difference in styles and material for Aristocrats and poor very well projected with both male and female clothing. Evita costumes generally excellent but one piece and colour worked better than two-pieces of different colour - the outfit with purple hat, green jacket, and grey/blue skirt did not work well- but always super well styled shoes for Evita. Another fine input which really projected the period and strata of the society. MUSIC ORCHESTRA - The 13 piece Orchestra was first class with both musical combination and scoring, and I greatly admired the transitions of musical styles and rhythms. 'The
- 3 - Requiem for Evita' was very moving with the drumming input, and then changes of rhythm and mood with the spotlight on the coffin. Throughout my notes keep mentioning the superb and effortless changes of musical style. There was some lovely sensitive underscoring in the 'Waltz for Eva and Che, and the balance of orchestral input and singing was excellent. Sensitive backing and fine String input for the Eva input at beginning of Act 2 and her promise to the crowd. The musical input from Rock to Latin was a joy to experience. SINGING - Throughout the clarity of diction and vocal projection was excellent and every musical number was well motivated and characterised. The opening choral piece with the Requiem was beautiful and I liked the body language in which all hands went up at the end. 'Oh What a Circus' from Che was sung with fine pitch and rhythm and characterised with excellent gestures and feeling for the Latino character, and then the young Eva coming through and singing 'Don't cry for me Argentina' - a fine input all round. 'On this Night of a Thousand Stars' from Magaldi was again sung with fine feeling for the music and lyrics and excellently characterised with lots of sleazy melodramatic gesture - it was super. Well characterised piece with Eva, Che, and Duarte family despite initial slight lack of vocal attack by the Family. Evita and 'Buenos Aires' sung with fine pitch and energy and excellent input of the Colonels, and following number 'Goodnight and Thank You' and Eva's input as the rising radio star was sung with a fine vocal range and vocal projection. Peron input in 'The Art of the Possible' piece and duet with Eva was delivered with fine promise of a resonant Baritone despite slight insecurity of pitch at times. 'Another Suitcase in Another Hall' from the Mistress was again well delivered with fine empathy for the character and lyric, and the support from the male chorus was excellent - complete with live Guitar input - a lovely number. The choral number 'Perou's Latest Flame.' was strongly projected with both excellent changes of movement patterns and supportive choral singing, and the following 'A New Argentina' with excellent animation of lyric by Eva, and both Eva and Peron very strong with both voice and body language, a fine choral input, and the number ending with a rousing crescendo. Act 2 and the challenging opening piece from Peron was very well delivered with a fine feeling for the words, and Eva's promise to the crowd was excellent complete with strong emotion. 'High Hying Adored' another strong number from Che sung with excellent strength and feeling. 'Rainbow Tour' although projected with fine singing did not work for me (see under Direction). Again Che and chorus gave super input into' And the Money Kept Rolling In' with fine energy and activity. The children were very moving and sincere with 'Santa Evita' and then the 'Waltz' with Che and Evita - "there is evil... " and Eva input into "Oh What I'd give for those 100 years" again really heartfelt with her motivation for the piece and failing health. A very sensitive piece with Peron "where do we go from here" and "you mustlove me" all excellently projected. Peron and 'She's a Diamond" was well characterised with the Military. 'Lament' was well pitched and sung with conviction as Eva. This was a superb input by the entire young Company in what is a very mature and demanding piece.
-4- DIRECTION There was a very firm and well co-ordinated team of Direction for this Musical and the action flowed fluidly from scene to scene. The characterisation was excellent and all vocal work was motivated with intelligence and understanding as well as musical ability. The dance and movement was choreographed in a fine style reflecting both the era and the Latin influence. The input of the newsreels and images was well conceived and well timed. The one piece that for me lacked vitality and energy was 'The Rainbow Tour'. Eva Peron undertook this whirlwind tour with great energy and vitality and posed dramatically expecting attention and prestige at every stage of her journey. The preparation scene was good with the input of the Maids etc, but there was no frenzied activity, swift new groupings, and exciting use of various areas of the stage with a constant changing dramatic Eva to depict the energy of the Tour. I felt that the characters such as Pope, Italian Admiral, were not strongly projected as staged pieces. This was the only point in the Musical that pace was not kept up. The overall pace and energy was excellent and the Company are to be congratulated upon a superb input. MOVEMENT & DANCE CHOREOGRAPHY including DANCE SKILLS & GROUPING I was impressed with the discipline and excellent characterisation given by both the choreography and the performers. I appreciated the way in which the wooden Set was used for both groupings, and with the way in which the spaces between were used for example by the Military coming through and with Peron and the Generals, and with changing groupings. The Latin dances were stylised and excellently controlled with super posture and facial expressions which gave an impressive characterisation, and then interspersed with frozen images. Lovely groupings, changing patters, and final pictures especially with the use of the steps going up to the upper level of the Set. Lovely lifts and kicks in 'And the Money Kept Rolling In'. This input was first class and above all I appreciated that all Dancers were individual characters with motivated movement and body language. CHARACTERISATION ACTING EVA PERON - This was a tour de force for a young girl- singing, acting, and movement, ranging from a deprived and poor 15 year old to a sophisticated and then dying 33 year old wife of the President of Argentina. This performer had it all and projected fully this journey, and we were transported from being discomforted with her hard and brash attitude on the way up to admiration with the aplomb and style of being
the First Lady of Argentina. I was impressed with the vocal range, the energy and projection, and with the superb acting skills. A first class performance in all aspects. JUAN PERON - This is a particularly challenging role for a young performer with the musical demands for a mature voice. Despite the voice not yet fully settled, the emerging Baritone had a fine quality and shows great promise. The body language and mature presence was well projected with fine acting skills and stage presence, and the character of the ambitious Peron was well established. A little hint for your performance progression - try to pronounce the word 'little' as 'li-tle' with tongue remaining behind the top teeth for 'tle' sound - and avoid 'Iit-tul' as it can sound immature and jars when vocalising lyrics. Another first class performance. CHE - An excellent and well pitched voice and a powerful stage presence. The energy and body language conveyed a watchful and cynical commentator, and his shadowy presence was always powerful. The vocal projection of his comments was always with good timing and delivered with excellent gesture and body language. The lyrics were always delivered with an excellent strength of feeling and fully motivated. This was another tour de force from a first class young performer. MAGALDI - He was superbly greasy and sleazy depicting the very second rate night club singer. Body language and gestures were perfect for the character. Fine singing input. Excellent performance. -5- MISTRESS - She characterised the vulnerability of 'Another Suitcase in Another Hall' very well and both voice and movement projected with great feeling. I think she was also Eva at the end on the Balcony - again it was first class. THE COMPANY - I was very impressed with the [me acting skills of the entire Company and the excellent characterisation of all roles whether minor support, dance, children, or general chorus. A commendable input by all. OVERALL AClDEVEMENT This was a first class achievement and the focus and energy of the young Company was outstanding. All the elements were excellently co-ordinated and the Musical flowed with ease from scene to scene, and eliciting a full range of emotions both on stage and I think indeed, also from the audience. I was fully engaged throughout - thank you for a super performance. Thank you for your kind hospitality and I look forward to being asked again in the near future to another performance from BMYP.