EVITA'S current cast is getting used to standing ovations from a Londonderry audience which does not flatter performers unless they deserve it.
If you are dithering about whether or not to go along to the remaining shows at the Millennium Forum, you may regret not taking up this opportunity.
Last Wednesday evening's performance won a great reception; the previous night's may have been eve
n better, with star Seamus Cullen saying it was the best the show had received at that time.
Like this review, the story of Evita starts at the end, with the dead legend lying in state with a grief-stricken husband watching over her.
Then, effortlessly, it rolls back the clock so we can see how the Argentinian star was born. It is a tribute to the show's writers and performers that this works so well despite the absence of meaningful dialogue.
Seamus Cullen, as Che, gave a solid and exhuberant performance as a cynical and mocking observer of the phenomenon that was Eva Peron.
In Eva, Andrew Lloyd Weber and Tim Rice found a perfect subject - Evita is a rare rags to riches story of a manipulating, persuasive and power-hungry person who enchanted a large section of Argentina's people.
This touring production gets everything right and the stage direction is superb.
Rachael Wooding, an excellent singer and actress, seems to find no difficulty playing all aspects of the role - the little teenage country girl with big plans, or the more glamorous and insincere adult who oozed insincerity and deviousness all the way. Playing Eva from adolescence to death allowed her to give full range to her acting talents.
The songs come through with full force but if there was one fault it was, strangely with the show's best performer. But we are talking about a fairly minor 'fault'.
I would admit to being tone deaf, so I would never dare comment on someone's singing ability - especially one who is so obviously gifted - but on just a couple of occasions I could not quite make out what Rachael was singing.
However most of the time I understood perfectly well, and could appreciate the passion, subtlety and on the right occasion, power, that she delivered her songs with.
When she sang "Don't Cry for Me Argentina" from the balcony, her arms outstretched and treating the audience as part of the performance it was a small, personal tour de force within an already top class production.
The show contains many great songs, including my own personal favourite, Another Suitcase in Another Hall.
I wouldn't say this was my favourite musical because I like more dialogue - but it was certainly a very good one with some great performances - and no musical I have ever seen has had better stage design or direction.
Evita runs to March 28.
