Review: Evita - Nenagh Choral Society

Public Adjudication

Society name: Nenagh Choral Society

Show name: Evita

Date of attendance: 26^th March 2026

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Thursday 26th of March was a momentous evening in sport as the Republic of Ireland soccer team took on Czechia in a crucial World Cup play-off. While much of the country was glued to that encounter, some of us had far better places to be in musical theatre land. I found myself in the Scouts’ Hall, Nenagh for Nenagh Choral Society’s ambitious production of ‘Evita’. Our soccer team may have been lacking a touch of Argentinian flair on the night, but there was certainly no shortage of it on stage in Nenagh.

Front of house was a most positive experience. The town may have been awash with Irish tricolours that evening, but it was Argentinian flags that were festooned around the foyer, creating a lovely sense of occasion and immediately setting the tone for the evening ahead. There was an exceptionally warm welcome, with front of house volunteers being particularly friendly, engaging and impeccably turned out, adding to the sense of occasion. Bhí sé go hálainn cúpla focal a bheith agam le duine no beirt freisin! On entering the hall, I was struck by the very atmospheric preset. A coffin, draped in the Argentinian flag, provided a haunting visual image. Upstage, an LED screen displayed fast-changing images of Eva Perón at various stages of her life. It created a busy but intriguing visual, ensuring that the our attention was caught well before the action began.

Director Greg Browne opted for the aesthetic of a black and white movie. In some respects, this was a very effective approach, giving the production a clear visual identity. He navigated the challenging, largely sung-through narrative well, maintaining momentum and clarity for the most part. However, the use of film footage on the LED screens was distracting at times, often competing with the onstage action rather than supporting it. There was very good use made of the platforms throughout, creating strong pictures and allowing for effective use of levels. One of the director’s particular strengths lay in the handling of Eva’s failing health and eventual death, which was presented with real dramatic weight and clarity. The ceremonial folding of the Argentinian flag following Eva’s death was beautifully observed, with the gesture of handing it to Perón providing a particularly poignant moment. Overall, this was strong work from Mr Browne. However, more control over the graphics might have allowed the storytelling to come through more clearly.

Musical director Laura Kearney led proceedings from the piano and it was encouraging to see a full ten-piece orchestra tuning up before the show. It gave a real sense that Andrew Lloyd Webber’s score would be given the richness it deserved. Choral singing was a particular highlight throughout the evening and Ms. Kearney got the very best from her ensemble. There was a lovely soprano sound in 'Requiem' in particular, while 'Perón’s Latest Flame' featured excellent work from the aristocrats and army. The children’s chorus in 'Santa Evita' provided the musical highlight of the night. They sang beautifully and when joined by the adult ensemble, the blend was superb, creating a genuinely moving moment. The future of Nenagh Choral Society is definitely in good hands! There were, however, a few occasions where ensemble numbers were not quite as tight as they might have been, especially in 'The Art of the Possible', where vocals were not always fully together. 

Megan Maher choreographed with a good understanding of the wide range of abilities within her cast. Many of the routines were simple in structure but this ensured they were accessible to all and allowed most performers to deliver them with confidence. 'Perón’s Latest Flame' featured sharp, precise movement from the aristocrats and I particularly enjoyed the use of props, with teacups and saucers incorporated to very good effect. The six soldiers also deserve mention for their marching routine, which was well drilled and together for the most part. There was strong, purposeful movement in 'A New Argentina', helping to give Act One a powerful finish. 'And the Money Kept Rolling In' stood out as the most polished routine of the evening. The use of cash for props in the routine was effective and the number featured a wonderfully energetic dance break, with good partner work, lifts, and dynamic movement throughout, all building to a very well-timed final picture. 

Eva Perón is one of the most demanding female roles in musical theatre, charting a journey from ambitious young woman to the most powerful and influential figure in Argentina. Kirsty Ryan delivered a clever, knowing performance, full of intelligence, determination and a desire to rise above her circumstances. She captured Eva’s drive and self-belief from the start, while also allowing glimpses of vulnerability beneath the surface. Singing was strong and confident throughout. 'I’d Be Surprisingly Good for You' was very well performed, showing a softer, more calculated side of Eva as she aligned herself with Perón. She was at her musical best in 'Don’t Cry for Me Argentina', with a gorgeous tone and an excellent sense of storytelling through song. Perhaps most impressive was her portrayal of Eva’s physical decline. Her steady deterioration as the show progressed was very well played, leading to a most convincing and poignant final sequence. 

As the driving force behind the narrative, Aaron O’Donoghue brought a very good vocal to the role of Che. His singing was particularly strong in 'High Flying, Adored', where he delivered a warm vocal with an impressive range, in what was his strongest moment of the evening. Dramatically, Che’s role requires a cynical edge, particularly in numbers such as 'Oh What a Circus', where the character sets the tone for the audience. While there were moments of this, a little more bite and energy at times would have helped to fully drive the storytelling and strengthen Che’s impact. 

Cuan Culliton brought a very authoritative stage presence to the role of Juan Perón, carrying himself with poise throughout. He gave a particularly strong performance in 'On the Balcony of the Casa Rosada'. Vocally, he impressed in 'She Is a Diamond', delivering it with confidence and clarity, while 'You Must Love Me' revealed a lovely tenderness, showing a more personal and human side to Perón. 

Séamus McCarthy clearly relished the role of Magaldi, bringing great energy and flair to his performance. He had a strong voice and threw himself fully into the part with considerable charm. 'On This Night of a Thousand Stars' was delivered with plenty of spirit and commitment. While it was not always completely secure musically, the performance had enough character and confidence to carry it effectively. 

Megan Maher was a standout performer in the role of Perón’s Mistress. It may be a small role but Ms. Maher gave her character real emotional weight. Representing the human cost of Eva’s rise, Ms. Maher made the most of her stage time, with a superb vocal and lovely expression to her performance. 'Another Suitcase in Another Hall' was delivered with real feeling and control. It was a lovely moment of reflection and vulnerability and one of the musical highlights of the evening.\

There was good work from the ensemble throughout. They played a very important role, not just as background, but as the voice of the people, and there was a very good sense of commitment to that throughout the performance. Choral singing was a particular highlight, with excellent work throughout the show and a clear, well-blended sound. While some of the more choreographed numbers would have benefited from a little more attention to detail and precision, those that worked well, especially 'And the Money Kept Rolling In', were very impressive. 

Máire Long and her stage crew were very efficient and slick throughout. Transitions were handled smoothly and with pace, ensuring that the show kept moving and never lost momentum. There was clear collaboration with Mr. Browne, with stage management fully committed to the overall vision. This allowed the production to flow well from scene to scene, with no disruption to the storytelling. 

The set design was very much driven by the use of LED screens, with a large central screen upstage and additional screens positioned either side of the stage. The platforms and central steps were well used, providing levels and allowing for effective stage pictures, as in the iconic balcony scene. The screens provided an almost cinematic backdrop to the action. At times, this worked very well. Some of the imagery was thoughtfully chosen and added real atmosphere. However, the myriad moving images and film sequences did not always work as well. There were moments where the visuals felt overly busy and overwhelming rather than complementing the action onstage. 

Lighting was generally solid throughout, with some beautifully realised stage pictures. The balcony of the Casa Rosada, in particular, was stunningly lit, with dramatic backlighting creating a memorable image. There was also some creative work on display in 'Rainbow Tour', where colour washes were used effectively to reflect the flags of different countries visited by Eva. 'And the Money Kept Rolling In' featured strong use of moving lights, helping to drive the energy of the number. The use of blue and white beams subtly echoed the colours of the Argentinian flag during ‘Eva’s Final Broadcast’, adding some poignancy to the moment. A well-executed lighting design overall with some standout moments.

Sound was very well handled throughout, with a strong overall mix and a good sense of balance. The orchestra was generally well controlled, allowing Webber’s score to flourish without overwhelming the vocals. There was a consistently good balance between pit and stage and the ensemble’s choral work, in particular, had excellent clarity and balance. The EQ settings for principal performers were very well judged, bringing impressive warmth to their vocals. Overall, this was a very strong contribution from the sound department, in what can be a very challenging show to control.

The costume design reflected the director’s black and white vision for the production. While this was an interesting concept, it was not always fully realised in practice. The costumes in 'Buenos Aires' did not feel entirely cohesive. While the black and white palette was there, the mix of styles, polka dot dresses, white blouses, black skirts, and various printed patterns, gave a slightly mismatched feel. More successful were the aristocratic costumes in 'Perón’s Latest Flame', where the black and white styling felt more definite and coordinated, creating a good sense of status and elegance. Eva’s costumes were excellent throughout. There was also good attention to detail in the military costumes. 

There was very good attention to detail from the props department throughout. The rifles looked convincing on stage, while the Perón signs and Argentinian flags added to the overall visual. The mirrors used in 'Rainbow High' were an interesting addition and worked well visually, though they did catch the light quite strongly at times, occasionally reflecting into the audience. An effort had been made to dull them down, however they still proved a little distracting. The various national flags in 'Rainbow Tour' were a nice touch. In the hospital scenes, the wheelchair, drip, and crutches all added to the realism. The coffin, draped in the Argentinian flag, was also a strong visual. One small point was that a cloth flag may have been more in keeping with the period, but this is a minor detail in the context of what was strong work overall.

Hair and makeup were something of a mixed bag. Eva’s blonde wig helped to create her iconic look and worked well in recreating her very recognisable image. Some of the ladies’ makeup, particularly the use of strong red lipstick, felt a little too modern at times. Also, hairstyles were not always fully appropriate for the era. That said, a good effort had been made across the board and there were many elements that worked well. 

Nenagh Choral Society’s Evita was an ambitious production that brought great energy to the stage of the Scouts Hall. It is very much to the society’s credit that they managed to attract a full house on the night of such a significant sporting event; a clear sign of the strength of their reputation in the community and the deserved interest in this production. It was a strong, successful staging of a challenging and iconic musical and one to be proud of.

Pat McElwain

Sullivan Adjudicator 2025/2026