REVIEW
Southend Operatic & Dramatic Society present
EVITA
Palace Theatre, Westcliff on Sea, Essex
30th April - 3rd May 2025
Southend Operatic & Dramatic Society present
EVITA
Palace Theatre, Westcliff on Sea, Essex
30th April - 3rd May 2025
Evita, the celebrated musical by Andrew Lloyd Webber and Tim Rice, follows the dramatic rise and fall of Eva Perón, the ambitious and charismatic First Lady of Argentina. Told through the eyes of the cynical narrator Che, the story traces Eva’s journey from a poor provincial girl to a powerful political figure, idolised by the working class and vilified by the elite. With iconic songs such as Don’t Cry for Me, Argentina and Another Suitcase, Another Hall, Evita combines drama with the political commentary of the day, highlighting the life of a woman who captivated a nation.
It’s a brave company that takes on this production and an even braver and talented actress who lands the part of Eva Peron, with a vocal score that would challenge the most accomplished of performers. Patti Lapone, who played her on Broadway, is on record stating,
'Evita was the worst experience of my life. 'I was screaming my way through a part that could only have been written by a man who hates women.’
However, Charlotte Bedford has clearly grabbed the opportunity to play the role of a lifetime with gusto and certainly has no trouble belting out every number. Just to get through the Buenos Aires number must be a challenge in itself for not only does she sing it, she also dances her way through it too. This girl is gonna need a huge lie down at the end of this run!
This version of Evita has been given a bit of a head start in that Simon Bristoe and Simon Lambert have previously played the roles of Che and Juan Perón in BasOp’s production back in 2019. Both of these roles have been fabulously reprised and it is the moment after Requiem at the top of the show, with the news of Eva Peron’s passing from cancer at the age of 33 years old, that we get to hear Bristoe’s powerful and resonate vocals in Oh What a Circus and realise that we are in safe hands, as he takes on the role of narrater. His vocals never falter in this solid performance as Che, especially so in the High Flying Adored number.
The SODS ensemble are on top form from the opening number, Requiem, and throughout. Musical Director, James Green, can certainly give himself a pat on the back for the work he has done with the cast, as well as conducting the 16 piece orchestra who provide a great sound in the pits. It's impressive work.
The stage is relatively bare for the whole of this production but for scaffolding which has been built up to provide the balcony for Eva’s iconic speeches and notably Don’t Cry for Me Argentina, possibly the best known song from the musical. It may have been a nice touch to have given it a little more flourish for different scenes but for the most part each scenario is clearly portrayed with the ensemble creating some lovely visuals with their colourful costumes and choreography.
It’s refreshing to see some inventive and original choreography in this show and Hannah O’Brien has brought some nice touches to the production giving the dancers some cleverly creative moves. I’d Be Surprisingly Good For You stood out for its originality. In fact, this is possibly some of the best choreography I’ve seen SODS perform, with every member of the ensemble fully committed to every number and delivering it well.
As we see Eva work her way through each relationship and job, from model to radio star and then actress, to get her way to the top, we also see her suitors magnificently dumped starting with Agustin Magaldi, nicely played by Jamie Miller in his first role with SODS and providing a lovely rendition of On This Night of A Thousand Stars; and eventually working her way up to politician, Colonel Juan Peron (Simon Lambert) with the I’d Be Surprisingly Good For You number. It’s a shame, though, that you never really see any real chemistry between the two to give the scenes between them more impetus and meaning.
With Eva clearly having designs on becoming the next Mrs Perón, we see her kicking out his current mistress, and Katy Adams gets her chance to shine with Another Suitcase in Another Hall, the song that Madonna famously pinched for herself in the film version of Evita. Adams sings this beautifully despite being slightly usurped by a pair of dancers behind her. It would have been nice to just let her have her moment I feel.
A New Argentina was cleverly devised with crates becoming a runway for Eva to walk down as she becomes the people's champion.
The Rainbow High number also deserves kudos for Bedford and the ensemble for the sheer boldness of being able to sing and get undressed and dressed so slickly.
The children in the production also played their parts well and Katerina Stowe-Mici produced some adorably impressive vocals in the Santa Evita number alongside the Blue Team of Freddie Cathan, Freddie James, Mark James, Hannah Lambert, Ethan Mahoney, Olive Pendrey and Livvie Ralph.
As Eva becomes weaker, her final broadcast is tragically relayed by Bedford and the story comes full circle. Charlotte Bedford should be proud of her achievements here. This is the moment where you feel that all of her hard work has paid off in this iconic role.
Director, Sarah Pettican, has taken on a mammoth task with this show and alongside choreographer, Hannah O’Brien and MD James Green they have created a solid production with a strong cast which will only get better as the week progresses. If I really had to nit-pick, I would question why slight accents were used. Personally, I feel it would have been less distracting not to do this.
Overall, this is an epic production for Southend Operatic Society which truly reflects their hard work and dedication, not just on stage but behind the scenes as well. In fact, it could well be one of the Society’s strongest offerings yet.
Review: Kim Tobin
It’s a brave company that takes on this production and an even braver and talented actress who lands the part of Eva Peron, with a vocal score that would challenge the most accomplished of performers. Patti Lapone, who played her on Broadway, is on record stating,
'Evita was the worst experience of my life. 'I was screaming my way through a part that could only have been written by a man who hates women.’
However, Charlotte Bedford has clearly grabbed the opportunity to play the role of a lifetime with gusto and certainly has no trouble belting out every number. Just to get through the Buenos Aires number must be a challenge in itself for not only does she sing it, she also dances her way through it too. This girl is gonna need a huge lie down at the end of this run!
This version of Evita has been given a bit of a head start in that Simon Bristoe and Simon Lambert have previously played the roles of Che and Juan Perón in BasOp’s production back in 2019. Both of these roles have been fabulously reprised and it is the moment after Requiem at the top of the show, with the news of Eva Peron’s passing from cancer at the age of 33 years old, that we get to hear Bristoe’s powerful and resonate vocals in Oh What a Circus and realise that we are in safe hands, as he takes on the role of narrater. His vocals never falter in this solid performance as Che, especially so in the High Flying Adored number.
The SODS ensemble are on top form from the opening number, Requiem, and throughout. Musical Director, James Green, can certainly give himself a pat on the back for the work he has done with the cast, as well as conducting the 16 piece orchestra who provide a great sound in the pits. It's impressive work.
The stage is relatively bare for the whole of this production but for scaffolding which has been built up to provide the balcony for Eva’s iconic speeches and notably Don’t Cry for Me Argentina, possibly the best known song from the musical. It may have been a nice touch to have given it a little more flourish for different scenes but for the most part each scenario is clearly portrayed with the ensemble creating some lovely visuals with their colourful costumes and choreography.
It’s refreshing to see some inventive and original choreography in this show and Hannah O’Brien has brought some nice touches to the production giving the dancers some cleverly creative moves. I’d Be Surprisingly Good For You stood out for its originality. In fact, this is possibly some of the best choreography I’ve seen SODS perform, with every member of the ensemble fully committed to every number and delivering it well.
As we see Eva work her way through each relationship and job, from model to radio star and then actress, to get her way to the top, we also see her suitors magnificently dumped starting with Agustin Magaldi, nicely played by Jamie Miller in his first role with SODS and providing a lovely rendition of On This Night of A Thousand Stars; and eventually working her way up to politician, Colonel Juan Peron (Simon Lambert) with the I’d Be Surprisingly Good For You number. It’s a shame, though, that you never really see any real chemistry between the two to give the scenes between them more impetus and meaning.
With Eva clearly having designs on becoming the next Mrs Perón, we see her kicking out his current mistress, and Katy Adams gets her chance to shine with Another Suitcase in Another Hall, the song that Madonna famously pinched for herself in the film version of Evita. Adams sings this beautifully despite being slightly usurped by a pair of dancers behind her. It would have been nice to just let her have her moment I feel.
A New Argentina was cleverly devised with crates becoming a runway for Eva to walk down as she becomes the people's champion.
The Rainbow High number also deserves kudos for Bedford and the ensemble for the sheer boldness of being able to sing and get undressed and dressed so slickly.
The children in the production also played their parts well and Katerina Stowe-Mici produced some adorably impressive vocals in the Santa Evita number alongside the Blue Team of Freddie Cathan, Freddie James, Mark James, Hannah Lambert, Ethan Mahoney, Olive Pendrey and Livvie Ralph.
As Eva becomes weaker, her final broadcast is tragically relayed by Bedford and the story comes full circle. Charlotte Bedford should be proud of her achievements here. This is the moment where you feel that all of her hard work has paid off in this iconic role.
Director, Sarah Pettican, has taken on a mammoth task with this show and alongside choreographer, Hannah O’Brien and MD James Green they have created a solid production with a strong cast which will only get better as the week progresses. If I really had to nit-pick, I would question why slight accents were used. Personally, I feel it would have been less distracting not to do this.
Overall, this is an epic production for Southend Operatic Society which truly reflects their hard work and dedication, not just on stage but behind the scenes as well. In fact, it could well be one of the Society’s strongest offerings yet.
Review: Kim Tobin
THE concept of someone suffering for their art is nothing new, but spare a thought for Charlotte Bedford as she puts the finishing touches to her performance as Eva Perón.
Charlotte will be taking on the iconic role in Southend Operatic and Dramatic Society’s production of the classic Andrew Lloyd Webber and Tim Rice musical Evita at the end of the month.
She started preparing for the task back in November, but it’s been much more than just learning the songs ahead of the show, which runs at the Palace Theatre in Westcliff-on-Sea from Wednesday, April 30 to Saturday, May 3.
“I can’t even begin to tell you how many times I’ve run on the spot singing Buenos Aires at home,” Charlotte said. “That has been a lot of my preparation, just running on the spot and running around the house singing some of the more intense songs.
And she added: “I have definitely had to train for it almost like I’ve trained for a marathon, because it really is a marathon of a part. But I think I’m there.
“There are also so many words to learn, so every time I’m in the office in London, I have the Evita soundtrack playing through my headphones. I don’t even want to see my Spotify Wrapped this year, because it’s just going to be Evita songs.”
Evita, which opened in the West End in 1978 and on Broadway a year later, charts the rise of Eva Duarte from a teenager in Argentina, to being a model, radio star and actress. She finally meets and marries army colonel Juan Perón, before he becomes Argentinian president.
Disliked by the Argentine aristocracy and military, but loved by the workers for her philanthropy and political activity, the show also explores the many characteristics of the women was given the name The Spiritual Leader of the Nation of Argentina, shortly before her death from cancer at the age of 33.
“I think it’s most women’s dream part,” Charlotte explained. “It’s probably the biggest part I have ever had and ever will have. The singing is immense, the acting is really emotional and really challenging, and I just love how complex she was. I don’t think I realised just how complex she was until I started playing her.”
And she joked: “I’ve found Eva’s diva side quite easy to get to grips with, but it’s not even two sides. I’d say throughout the show, I probably take on 10 different versions of Eva.
“It has been tricky, particularly because there’s no dialogue. It’s all singing, so I’ve really had to work on how I get across her emotions through my voice and my face, rather than how I’m talking.
“That has been a real learning curve and it’s definitely tested me as an actor, but it’s made me a better actor as well.”
Packed full of well known tunes, such as Don’t Cry For Me Argentina, Oh What A Circus, Another Suitcase in Another Hall and You Must Love Me, SODS’ production sees Simon Bristoe and Simon Lambert reprise the roles of narrator Che and Juan Perón that they played for BasOp in 2019.
Jamie Miller makes his SODS’ debut as Agustin Magaldi and Katy Adams plays Perón’s mistress in a production that sees director Sarah Pettican and choreographer Hannah O’Brien also make their SODS’ debuts, while James Green returns as musical director.
Evita runs nightly at 7.30pm at the Palace Theatre, with matinees at 2.30pm on Thursday, May 1 and Saturday, May 5. Visit https://trafalgartickets.com/cliffs-pavilion-southend/en-GB/southend-theatres or call the box office on 0343 310 0030 for more information or to book.
Charlotte will be taking on the iconic role in Southend Operatic and Dramatic Society’s production of the classic Andrew Lloyd Webber and Tim Rice musical Evita at the end of the month.
She started preparing for the task back in November, but it’s been much more than just learning the songs ahead of the show, which runs at the Palace Theatre in Westcliff-on-Sea from Wednesday, April 30 to Saturday, May 3.
“I can’t even begin to tell you how many times I’ve run on the spot singing Buenos Aires at home,” Charlotte said. “That has been a lot of my preparation, just running on the spot and running around the house singing some of the more intense songs.
And she added: “I have definitely had to train for it almost like I’ve trained for a marathon, because it really is a marathon of a part. But I think I’m there.
“There are also so many words to learn, so every time I’m in the office in London, I have the Evita soundtrack playing through my headphones. I don’t even want to see my Spotify Wrapped this year, because it’s just going to be Evita songs.”
Evita, which opened in the West End in 1978 and on Broadway a year later, charts the rise of Eva Duarte from a teenager in Argentina, to being a model, radio star and actress. She finally meets and marries army colonel Juan Perón, before he becomes Argentinian president.
Disliked by the Argentine aristocracy and military, but loved by the workers for her philanthropy and political activity, the show also explores the many characteristics of the women was given the name The Spiritual Leader of the Nation of Argentina, shortly before her death from cancer at the age of 33.
“I think it’s most women’s dream part,” Charlotte explained. “It’s probably the biggest part I have ever had and ever will have. The singing is immense, the acting is really emotional and really challenging, and I just love how complex she was. I don’t think I realised just how complex she was until I started playing her.”
And she joked: “I’ve found Eva’s diva side quite easy to get to grips with, but it’s not even two sides. I’d say throughout the show, I probably take on 10 different versions of Eva.
“It has been tricky, particularly because there’s no dialogue. It’s all singing, so I’ve really had to work on how I get across her emotions through my voice and my face, rather than how I’m talking.
“That has been a real learning curve and it’s definitely tested me as an actor, but it’s made me a better actor as well.”
Packed full of well known tunes, such as Don’t Cry For Me Argentina, Oh What A Circus, Another Suitcase in Another Hall and You Must Love Me, SODS’ production sees Simon Bristoe and Simon Lambert reprise the roles of narrator Che and Juan Perón that they played for BasOp in 2019.
Jamie Miller makes his SODS’ debut as Agustin Magaldi and Katy Adams plays Perón’s mistress in a production that sees director Sarah Pettican and choreographer Hannah O’Brien also make their SODS’ debuts, while James Green returns as musical director.
Evita runs nightly at 7.30pm at the Palace Theatre, with matinees at 2.30pm on Thursday, May 1 and Saturday, May 5. Visit https://trafalgartickets.com/cliffs-pavilion-southend/en-GB/southend-theatres or call the box office on 0343 310 0030 for more information or to book.
Photo credits: Emma Stow Photography
Charlotte Bedford as Eva Perón
Simon Lambert as Juan Perón
Photo of ensemble
Simon Lambert as Juan Perón
Photo of ensemble