Evita, Kendal Town Hall

OVERALL, it was probably Kendal Amateur Operatic Society's strongest ever vocal performance. Maybe akin to KAOS's performance of Jesus Christ Superstar in 1992, one of its most memorable.

One of Andrew Lloyd Webber and Tim Rice’s best known collaborations, Evita is based on real events and follows Eva Peron from her humble beginnings living in the slums of Argentina through her to meteoric rise and extraordinary wealth as wife of Argentina’s president.

She was adored by millions, and generated huge popularity for her husband Colonel Peron's government, mainly through her work for the poor.

A New Argentina was one of the tuneful highlights of the first half, an air-puncher of a song that significantly raised the tempo and brought act one to a stirring close.

During the interval all talk was about Jamie-Leigh Currie's fabulous voice in Another Suitcase in Another Hall, accompanied by a four-man chorus. Although briefly, her star certainly shone as Colonel Peron's mistress.

The second act brought out the best in Jenny Brooks, who played Eva and dazzled in an elegant and classy selection of costumes fit to grace any West End or Broadway production. Considering her demanding role and how much she had to learn lyrically, she delivered in style, particularly the emotive and dramatic Don’t Cry for Me Argentina.

Although, it was unquestionably one of the best KAOS shows I've ever seen with many individuals playing their parts superbly, for me, though, the standout performance was Glen Hanmer as Che.

This guy is seriously good. I've seen Glen give solid performances on several occasions but this was a bit special. As a singing narrator, swerving in and out of the action, he had just the right amount of confidence and swagger.

His vocal performance was outstanding. So polished, professional and precise: totally at ease.

Evita is without doubt immensely challenging vocally, especially for Jenny and Glen, who I would imagine were pretty exhausted by the end of the run.

Bar one small exception, the singing, and musicianship, maintained a high standard all through.

Not a spoken word of dialogue, no wonder highly experienced musical director John Perrin was brought in to steer the ship, which he did admirably.

KAOS and producer Graham Barker were victorious in staging an irresistible and exciting production.

Their execution matched their ambition.

Adrian Mullen