National Operatic & Dramatic Association London
Region
It is always such a shame that whenever there are any elements involving double casting or
understudies my Report is rarely able to mention the fact so I am very grateful to you all for
inviting me to a full understudies’ rehearsal so that I could see both the Eva and Che
understudies in action as well as the excellent alternate Mistress, Gina Abbatt. I feel that you
are extremely fortunate to have the talent to be able to create understudies as good as Hayley
White and Andrew Whelan. Even with the restraints of an echoey barn-like rehearsal space,
levels which had to be imagined, no make up and some substitute props and trucks all three
of you, alongside the rest of the cast, created the characters and maintained the story in front
of my eyes.
Hayley, as Eva Peron, had many costume changes and I was glad to note that you took the
opportunity to rehearse these conscientiously to get the timing right. You really were Eva,
emotional and totally in character all the time. Your singing and acting were both really
excellent and your diction was good.
Andrew played the cynical and watchful narrator, Che, well. Your diction was not always
totally clear but I put this down to the echoes of the rehearsal space and the fact that you were
often at the back or side of the crowd. I am quite sure that when you took the part at the
matinee your diction was perfect.
Peron’s Mistress Gina Abbatt played the role of a bitter and emotional woman and struck just
the right note with ‘Another Suitcase Another Hall’. You acted the song out so well too,
moving well and singing clearly and in character. You were also excellent as a chorus
member.
All of you, with over a week to go, were word perfect – personal experience says that so
often companies do not get to this stage until adrenalin kicks in when in the theatre itself.
Congratulations on this achievement which resulted in a smooth interruption free rehearsal.
Now, I will revert to my usual way of writing a report and start with the Production Team.
Your Evita, directed and choreographed by David Rhys. MDed by Peter Dodsworth and
Stage Managed by Andy Kennett was an excellent production. Having watched a late
rehearsal I realized just how important it was in this show particularly, with no opportunities
ever arising for the MD to ‘vamp until ready’ while set changes take place, to rehearse the
stage crew as you were able to do. I assume you also have the advantage of some storage at
your venue so that a few large and vital props, such as a coffin, a screen and a truck, can be
there to familiarise the cast and crew with them long before you move to The Court. Having
one of your crew, I think I have it right – this was Kara Malone? - on the book at rehearsal
calling the show paid off too as far as the scene changes were concerned. This attention to
detail at the rehearsal stage led to a very slick and smooth performance. Congratulations to
the rest of the crew on this, Steve Bowlzer, Paul Roxan, Ian Selinger and David Kennett.
David and Peter, you must have worked your cast incredibly hard to achieve such a top notch
final polish, and David – a mention for your choreography – excellent, especially Evita &
Che’s dance and all the ensemble movements which were well drilled.
Lighting, designed by Andrew Ellis and operated by Harvey Allsop and Kieran Potter, had to
be absolutely spot on all the time – and it was. I couldn’t fault any of it.
Sound, designed and operated by Nick Cooper, was also accurate and well done. I am not
certain whether the technical side of the ‘prequel’ set in an Argentinian cinema, was
organized by sound, lights or SM – whoever it was did an excellent job – give them a credit
in the programme next time! David, I realise that you set this scene of course and it was very
effective and full of interesting action from mimed arguments about seats to members of the
cinema audience coming and going.
As usual you sited your band under the raised seating which works so well in this venue and
Nick Cooper deserves credit I think for getting the sound balance right with well positioned
speakers which enhanced all the musical numbers. Also, I must mention the fact that a guitar
solo was particularly good.
Wardrobe Mistresses, Michelle Selinger and Julia Saddler, certainly had their work cut out.
With the aforementioned doubled cast in mind you obviously had to double the costumes as
the members of cast concerned were sized very differently! The costumes were completely
in period too – even down to the shoes. Really excellent.
No credit in the programme for the make up – did you all do your own? It was beautifully in
period as were the excellent wigs. Sue Wigglesworth must take a bow here as not only were
they top quality and dressed in period but they were actually put on correctly so they looked
completely real. In a show like Evita it is worth splashing out on proper wigs instead of
relying on synthetic ones which never, ever look like natural hair.
The set, designed by David Rhys and constructed by the aforementioned SM and crew with
the addition of Ben Harris and Matthew Minors, worked so very well. Somehow it was
simple yet complicated so that you got so much out of it. The concept also enabled you to
avoid the pitfalls associated with a multi scene production like this one with a very
imaginative, and slick, use of stairs, gallery, panels, trucks and doors. Ali Bowlzer’s props
complemented the set beautifully too.
My one, very small, criticism concerned the use of the hazer which I felt was over used at
times but this is a hard call I know as you need it to enhance the lighting whilst not
smothering the cast.
Finally on the creative/production side, before I turn to your cast who, without exception,
gave your audiences a very slick and professional show, I would like to mention the
programme. Designed, and presumably compiled, by Ruth Salsbury and Paul Roxan, this
was a very well laid out affair, packed with information and, most importantly, easy to read
in dim lighting. I was very pleased to see the full page devoted to NODA and your well
deserved Flame Award too.
Your ensemble, playing various roles, were in character throughout and we could hear every
word because your diction was so very good. Your entrances and exits were well timed and
efficient at all times, largely due to the set design which gave you plenty of space, and I could
not fault any of you! In fact this whole show was difficult to nit pick, all I will say that you
should be careful of Los Ninos’ plaits, one at least was plaited in a more up to date way than
would have been the case in the 1940s.
All your small ‘bit part’ characters were totally believable, your groupings were very good
too and movements well in tune with each other. The creation of the flag from three pieces
of material at the end was effective although I found the coffin very disturbing, which I am
sure I was meant to!
Your principals were all excellent. Evita, being a modern opera with no spoken dialogue,
requires singers of a very high caliber to carry the illusion properly and yours most certainly
did not let you down.
Eva, Lauren Shephard. Lauren you just went from strength to strength. Your acting and
singing shone as you developed your character from a very believable teenage waitress to a
very sophisticated and powerful woman before changing again into a very sick woman still
trying to influence events. Your ‘Don’t Cry for Me Argentina’ was sensitively and
emotionally sung – although this number was omitted from the list of musical numbers in the
programme for some reason?
Che, Nicholas Priest. Nick you too were excellent as the cynical narrator figure. Your
highlight for me was ‘Oh What a Circus’ which you sung and acted out very well. Always
exactly where you should be to pick up the storyline unobtrusively too. Congratulations.
Juan Peron, Antony Bessick. You too had excellent stage presence, quietly dominating the
scenes you were in whilst never upstaging anyone else. Your solos, duets and ensemble
numbers were very well acted and sung.
Augustin Magaldi, David Lodge, not an easy part as you had to establish yourself as the
reason Eva left home, your ‘Night of a Thousand Stars’ number did just that. Then, of
course, after Eva had rejected you, you fitted believably into the ensemble.
Peron’s Mistress, Katharyn Mann. Kat, your version of ‘Another Suitcase’ was so very well
acted and sung and your stage presence reflected your wide experience in musical theatre.
You too were part of the ensemble of course in all scenes other than this one and acted these
small parts well.
Thank you again for making me so welcome both at the rehearsal and at the performance –
special thanks to your Production Manager Ruth Salsbury and also to your President and his
wife who were valiantly selling programmes but found time to talk to me. Thank you too for
the refreshments. I look forward to your next production whatever it may be!
Judith Watsham
Regional Rep NODA London 11 and 11A
Region
It is always such a shame that whenever there are any elements involving double casting or
understudies my Report is rarely able to mention the fact so I am very grateful to you all for
inviting me to a full understudies’ rehearsal so that I could see both the Eva and Che
understudies in action as well as the excellent alternate Mistress, Gina Abbatt. I feel that you
are extremely fortunate to have the talent to be able to create understudies as good as Hayley
White and Andrew Whelan. Even with the restraints of an echoey barn-like rehearsal space,
levels which had to be imagined, no make up and some substitute props and trucks all three
of you, alongside the rest of the cast, created the characters and maintained the story in front
of my eyes.
Hayley, as Eva Peron, had many costume changes and I was glad to note that you took the
opportunity to rehearse these conscientiously to get the timing right. You really were Eva,
emotional and totally in character all the time. Your singing and acting were both really
excellent and your diction was good.
Andrew played the cynical and watchful narrator, Che, well. Your diction was not always
totally clear but I put this down to the echoes of the rehearsal space and the fact that you were
often at the back or side of the crowd. I am quite sure that when you took the part at the
matinee your diction was perfect.
Peron’s Mistress Gina Abbatt played the role of a bitter and emotional woman and struck just
the right note with ‘Another Suitcase Another Hall’. You acted the song out so well too,
moving well and singing clearly and in character. You were also excellent as a chorus
member.
All of you, with over a week to go, were word perfect – personal experience says that so
often companies do not get to this stage until adrenalin kicks in when in the theatre itself.
Congratulations on this achievement which resulted in a smooth interruption free rehearsal.
Now, I will revert to my usual way of writing a report and start with the Production Team.
Your Evita, directed and choreographed by David Rhys. MDed by Peter Dodsworth and
Stage Managed by Andy Kennett was an excellent production. Having watched a late
rehearsal I realized just how important it was in this show particularly, with no opportunities
ever arising for the MD to ‘vamp until ready’ while set changes take place, to rehearse the
stage crew as you were able to do. I assume you also have the advantage of some storage at
your venue so that a few large and vital props, such as a coffin, a screen and a truck, can be
there to familiarise the cast and crew with them long before you move to The Court. Having
one of your crew, I think I have it right – this was Kara Malone? - on the book at rehearsal
calling the show paid off too as far as the scene changes were concerned. This attention to
detail at the rehearsal stage led to a very slick and smooth performance. Congratulations to
the rest of the crew on this, Steve Bowlzer, Paul Roxan, Ian Selinger and David Kennett.
David and Peter, you must have worked your cast incredibly hard to achieve such a top notch
final polish, and David – a mention for your choreography – excellent, especially Evita &
Che’s dance and all the ensemble movements which were well drilled.
Lighting, designed by Andrew Ellis and operated by Harvey Allsop and Kieran Potter, had to
be absolutely spot on all the time – and it was. I couldn’t fault any of it.
Sound, designed and operated by Nick Cooper, was also accurate and well done. I am not
certain whether the technical side of the ‘prequel’ set in an Argentinian cinema, was
organized by sound, lights or SM – whoever it was did an excellent job – give them a credit
in the programme next time! David, I realise that you set this scene of course and it was very
effective and full of interesting action from mimed arguments about seats to members of the
cinema audience coming and going.
As usual you sited your band under the raised seating which works so well in this venue and
Nick Cooper deserves credit I think for getting the sound balance right with well positioned
speakers which enhanced all the musical numbers. Also, I must mention the fact that a guitar
solo was particularly good.
Wardrobe Mistresses, Michelle Selinger and Julia Saddler, certainly had their work cut out.
With the aforementioned doubled cast in mind you obviously had to double the costumes as
the members of cast concerned were sized very differently! The costumes were completely
in period too – even down to the shoes. Really excellent.
No credit in the programme for the make up – did you all do your own? It was beautifully in
period as were the excellent wigs. Sue Wigglesworth must take a bow here as not only were
they top quality and dressed in period but they were actually put on correctly so they looked
completely real. In a show like Evita it is worth splashing out on proper wigs instead of
relying on synthetic ones which never, ever look like natural hair.
The set, designed by David Rhys and constructed by the aforementioned SM and crew with
the addition of Ben Harris and Matthew Minors, worked so very well. Somehow it was
simple yet complicated so that you got so much out of it. The concept also enabled you to
avoid the pitfalls associated with a multi scene production like this one with a very
imaginative, and slick, use of stairs, gallery, panels, trucks and doors. Ali Bowlzer’s props
complemented the set beautifully too.
My one, very small, criticism concerned the use of the hazer which I felt was over used at
times but this is a hard call I know as you need it to enhance the lighting whilst not
smothering the cast.
Finally on the creative/production side, before I turn to your cast who, without exception,
gave your audiences a very slick and professional show, I would like to mention the
programme. Designed, and presumably compiled, by Ruth Salsbury and Paul Roxan, this
was a very well laid out affair, packed with information and, most importantly, easy to read
in dim lighting. I was very pleased to see the full page devoted to NODA and your well
deserved Flame Award too.
Your ensemble, playing various roles, were in character throughout and we could hear every
word because your diction was so very good. Your entrances and exits were well timed and
efficient at all times, largely due to the set design which gave you plenty of space, and I could
not fault any of you! In fact this whole show was difficult to nit pick, all I will say that you
should be careful of Los Ninos’ plaits, one at least was plaited in a more up to date way than
would have been the case in the 1940s.
All your small ‘bit part’ characters were totally believable, your groupings were very good
too and movements well in tune with each other. The creation of the flag from three pieces
of material at the end was effective although I found the coffin very disturbing, which I am
sure I was meant to!
Your principals were all excellent. Evita, being a modern opera with no spoken dialogue,
requires singers of a very high caliber to carry the illusion properly and yours most certainly
did not let you down.
Eva, Lauren Shephard. Lauren you just went from strength to strength. Your acting and
singing shone as you developed your character from a very believable teenage waitress to a
very sophisticated and powerful woman before changing again into a very sick woman still
trying to influence events. Your ‘Don’t Cry for Me Argentina’ was sensitively and
emotionally sung – although this number was omitted from the list of musical numbers in the
programme for some reason?
Che, Nicholas Priest. Nick you too were excellent as the cynical narrator figure. Your
highlight for me was ‘Oh What a Circus’ which you sung and acted out very well. Always
exactly where you should be to pick up the storyline unobtrusively too. Congratulations.
Juan Peron, Antony Bessick. You too had excellent stage presence, quietly dominating the
scenes you were in whilst never upstaging anyone else. Your solos, duets and ensemble
numbers were very well acted and sung.
Augustin Magaldi, David Lodge, not an easy part as you had to establish yourself as the
reason Eva left home, your ‘Night of a Thousand Stars’ number did just that. Then, of
course, after Eva had rejected you, you fitted believably into the ensemble.
Peron’s Mistress, Katharyn Mann. Kat, your version of ‘Another Suitcase’ was so very well
acted and sung and your stage presence reflected your wide experience in musical theatre.
You too were part of the ensemble of course in all scenes other than this one and acted these
small parts well.
Thank you again for making me so welcome both at the rehearsal and at the performance –
special thanks to your Production Manager Ruth Salsbury and also to your President and his
wife who were valiantly selling programmes but found time to talk to me. Thank you too for
the refreshments. I look forward to your next production whatever it may be!
Judith Watsham
Regional Rep NODA London 11 and 11A