Evita

The Alhambra

THE story of Eva Peron - a smalltime actress born into poverty who became Argentina's controversial First Lady - isn’t your average musical theatre material, and it raised eyebrows when first staged 30 years ago.

But, from its origins as a rock opera concept album, Andrew Lloyd Webber and Tim Rice haunting show, Evita, became a theatrical masterpiece.

It's one of those shows adoring fans see over and over again. I'm not one of them. I'll be honest - it's a show I'm not too keen on. The score is lovely but the story just doesn't interest me, I find some of it dreary and longwinded, and I struggle to care about Eva Peron; cold, ruthless and the unlikely saint of a nation.

That aside, I couldn't fail to be impressed by the staging and performances in this latest production, touring the UK after two West End seasons.

And at the centre of it all was a world class performance by Madalena Alberto. Barely off stage throughout the entire two-hour performance, she was mesmerising in the title role. Returning to play Peron, after wowing critics and audiences at London’s Dominion Theatre in 2014, the West End star delivered a fabulous performance that left some of the Alhambra audience in tears.

There are few female roles in musical theatre as demanding and complex as this one, and Alberto was flawless from start to finish - taking Eva from a spirited but self aware teenage girl to sharp-suited "Santa Evita," adored by her people before dying of cancer aged just 33.

The show opens with her funeral. "Oh what a circus," muses our narrator, Che, observing all the pomp and ceremony.

From there, the action shifts from from downtown Argentina to steamy Buenos Aires and Peron’s stately corridors of power. It is beautifully presented, with a great cast bringing to life Bill Deamer’s terrific, soulful and energetic choreography against designer Matthew Wright’s impressive set, dominated by stone pillars and staircases.

This is a show that boasts some of the best-loved songs in musical theatre, and Alberto's soul-stirring performance of Don’t Cry for Me Argentina was, naturally, the show-stopper. Other highlights include You Must Love Me, Eva's tearful swan song, in Peron's arms, the catchy Buenos Aires, the moving Waltz for Eva and Che and Another Suitcase in Another Hall, beautifully sung by Christina Hoey as Peron's mistress.

Jeremy Secomb was a powerful presence as brooding Juan Peron and Gian Marco Schiaretti was a charismatic Che, the ‘voice of the people’ conscience of the show.

Nice performances too from the youngsters of Stuart Stage School in Heckmondwike.

I may not be a fan of this show, but its enduring appeal and success has secured it a place in many hearts. And this powerful production won't disappoint those who love it.

Runs until Saturday.