Well I’m inclined to agree with Andrew.
There’s no doubt little Elena does have star quality and a spectacular mouth. Though even in her heels she barely comes beyond Peron’s waist (perhaps explaining the attraction).
I found myself drawn to watching her throughout – if only to lip read when the going gets tough and it certainly does, at less than acceptable levels. When my focus did stray it was to a particular member of the chorus giving her all, she’s the one in the Eartha Kitt wig in ALW’s take on My Fair Lady’s Ascot scene. (Or should that be Ladies?)
Which brings me to Richard Mawbey who deserves a special mention for excellent wig work. I’m a sucker for convincing wigs. Though I did notice Silvikrin get a mention on the posters. No wonder Mr Mawbey gets such a high mention in the credits. Well done Richard.
I was a little more taken with it as a whole finding it more atmospheric than the original production, but that could be my memory. And if they insist on being so literal with the sets shouldn’t the Casa Rosada have been pink?
However when Evita collapses and Andrew whispered, “things are looking up” I had to agree. The best tunes had gone, the turgid oscar winning (how?) “You must love me” unnecessarily added from the film, “Mistress” Lorna had left us Wanting more (of her) and less of the last twenty minutes which seemed to last forever.
And why does the ad in The Times describe the Adelphi as “Air Conditioned” when the box office call it “Air-Cooled”?
It’s clearly less efficient, though we noticed the cheaper, emptier, rear stalls (around the lighting desk) much cooler than our seats. Also it’s not playing to “packed houses as John Barrowman claimed on Saturday’s “How Do You Solve A Problem Like Maria? And another thing, raking the stalls might help too, get a tall person in front of you and you might miss Elena Roger.
Despite this, my recommendation would be stalls centre row J for best appreciation of the Morcambe and Wise effect (see Andrew’s review). Enjoy!