Descriptive writing Draft 3 - Final Draft

Leading up to the premiere of Andrew Lloyd Webber’s musical ‘Evita’ ,it has been very exciting to see the show coming together, merging all the components to make the final spectacle.

The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.

From this first sombre setting depicting the end of Eva Peron’s life, myself and the rest of the cast shed our black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as we go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.

Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as disatisfied members of the army.

Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.

At the end of the show, the performers gather on stage to the audience’s appreciative applause. Peering into the audience I see the glint of tears in the eyes of those on the front row and I feel a tingle of pride begin to swell inside me, glad to have been part of such a huge team effort that has brought Evita’s amazing yet tragic life story to the forefront of Estonian theatre.