Eva Peron crammed a lot into her 33 years. From her humble beginnings, through 'her wild days' and 'mad existence', to meeting Juan Peron and becoming, with him, the most significant Argentinian political figures of the twentieth century, before her premature death amid calls from the poor of that country that she be canonized.

The show is largely carried by the two characters of Evita and Peron, and the omnipresent Che who acts as narrator and represents the voice and conscience of the Argentinian people. This difficult role is well delivered by Marti Pellow as he steps in and out of the action, clad in khaki, casting often cynical barbs beginning with his references to the nation's grief at the news of Eva's death in ' Oh what a circus'.

The role of President Peron is excellently played by the imposing figure of Bryn Terfel lookalike Mark Heenahan who exhibits the necessary poise and gravitas as, following much political manoeuvring (depicted memorably in the musical chairs of 'The art of the possible'), he climbs through the ranks of the military.

It is, however, Madalena Alberto who steals the show. 'Evita' is basically a documentary of the life of Eva Peron and she is convincing as she transforms from young brunette teenage wannabe, via numerous changes of costume and hair colour, to the blonde semi-goddess - the performance of 'Don't cry for me Argentina', delivered from the presidential balcony, that announces her final metamorphosis at the beginning of act 2, was quite mesmerising. Though she is by no means the most vocally gifted performer to have sung the role this did not matter as there can have been few who have so movingly captured her final days.

The stunning use of lighting (Mark Howett) and memorable choreography from Bill Deamer also played a major part in emphasising the Latin and militaristic elements of the show. One of the best evenings in the theatre that I have experienced in a very long time.