Evita, as performed by St. Mary’s Choral Society, Clonmel

Evita, as performed by St. Mary’s Choral Society, Clonmel: 

Date of Adjudication: Monday, 8th April 2024. 

In one of the busiest weeks of the year, I had no alternative but to attend the St. Mary’s Choral Society’s production of Evita on the opening night, for which I can only apologise. However, I’m delighted to report that the performance showed very few signs at all of being a first performance. It was neat and tidy, and the cast did themselves proud, with some quite remarkable performances and a minimum of visual or technical difficulties. On a recently refurbished stage, a nicely designed, but fairly uncomplicated neutral set was enhanced and kept alive by quite beautiful and effective lighting. The stage was a fairly tight space, so the stage management did a good job, under SM, Jimmy Trehy, of discreetly moving and positioning the required props and pieces for each scene. The flow of the action was rarely interrupted. The use of the projection screens on the side walls was very effective for showing historical images of Eva Perón and many of the events of her life. The lighting consisted of very atmospheric colours and well-focused special areas, which almost always hit their targets. Sound quality was also very smooth throughout the show. 

Director, Des Henn, used the space and the good balconies very effectively to give variety, location and a good sense of movement to the production. By keeping the action fluid, and the pictures ever changing, he avoided having a stage that looked overcrowded. Pace, throughout the show was very good., with an opening funeral scene that wasn’t over-laboured, but was just enough to merit Che singing ‘Oh What A Circus. Perhaps more comedy could have come from the Goodnight and Thank You number and perhaps the Art of The Possible and the scenes involving the Generals could have been more military and precise, but as they were, all of these numbers were very tidy and effective. 

The major success of the evening was the work done of the central characters, who were all very well-realised and controlled in their direction. 

If the confidence and ability of Saoirse Scully are anything to go by, St. Mary’s’ future is in very safe hands, for at only 17 years of age, this young lady took on the demanding role of Eva Perón and made a powerful impact on the audience. Her growth from impetuous teenager to manipulative social climber, to the peoples’ choice and eventually to her own demise, was marked by extremely secure realization of the required persona for each step in the journey. This was really good acting, and if that wasn’t enough, she captivated with a most pleasing and controlled vocal display, and the ability to dance and move with confidence and flair. Showing so much maturity beyond her years, Saoirse is a star in the making, who I am sure will go on to greater heights in the future. 

Alan Hearne was a strong and very credible Juan Perón, standing tall to become a natural leader, and blissfully unaware of how Eva manipulated his every move. As the chanting on the balcony scene changed from ‘Perón, Perón’ to ‘Evita, Evita’, his expression dramatically registered a realization of her power and popularity. This was lovely acting, as was his tenderness towards Eva in her illness. He also had a strong and clear vocal quality.

Emmet Donlan put his best foot forward in presenting Che, the narrator of the story, who provides an insight into Eva’s behaviour, and also a social commentary on how she is perceived by others. This was strong disengaged commentary, with excellent delivery of his vocals, and in those moments where he interacts with Evita, there was a good mix of admonition and admiration, leaving us wondering does he love her or loathe her. Beautifully played. 

Ian Purcell had good poise and persona in creating Magaldi, cocky and confident as the crooner with an eye for the ladies, and then decidedly insecure when played by Eva. He gave us a very pleasant rendition of Night of A Thousand Stars. 

Perón’s Mistress was played by Nicole Butler, who used her brief opportunity to shine with nice acting and offering a beautiful rendition of Another Suitcase. 

The cameo roles of the Duarte family, the generals, etc, were all played very capably by performers who also featured in the chorus. 

While not massive in number, the chorus were certainly extremely capable of making an impact, with strong and clearly delivered vocal quality and beautiful harmonies. They played with solemnity for the funeral scenes and were joyful in their admiration for the rising Evita. Moreover, there was a wonderful sneering attitude and countenance about those who frowned upon her as lacking class and dignity. Those who were required to dance during the performance, did so with ease and enthusiasm. 

From a choreographic point of view, Buenos Aires is really the showpiece of the story, and with this number, choreographer Barbara Meany produced her finest work, filled with flair and energy, and well executed by the cast. There was good work too, for Perón’s Latest Flame, The Rainbow Tour and The Money Kept Rolling In. Much of the chorus work is more about acting and reacting and presenting ever-changing pictures on the stage, all of which was very nicely managed and very tidily performed. 

Costumes for the show were of a very high standard. Given her love of glamour, it was important, and very successfully achieved, for Eva to always look immaculately dressed. Uniforms for the generals were good, and the upper classes always looked neat and superior. Wigs and hairstyles were lovely, especially Eva’s. There was good attention to gloves, shoes, etc. Perhaps we needed more props, in the shape of flags, bunting, banners, etc, to accompany the Rainbow tour, to give a greater sense of the countries being visited, and while the main banner for A New Argentina was very effective, perhaps a few more flags or placards might have enhanced the scene. These are minor points, though, in a show that was aesthetically very pleasing indeed. 

I’m indebted, as always, to St. Mary’s for many years of highly enjoyable entertainment and wonderful hospitality, and as my tenure as Adjudicator nears its end, I wish you well in the future. Thanks for another super night of talent and entertainment.

Peter Kennedy

Gilbert Adjudicator 23/34

Photographer: Cathy Murphy