Oh, What A Show: The Songs of Evita

Evita started life as an album written by Tim Rice and Andrew Lloyd Webber. Released in 1976, every one of its musical numbers serves to tell the epic story of Argentina’s iconic Eva Perón. As Eva takes to the stage at the London Palladium this summer, here’s our round-up of Evita’s most show-stopping songs.

‘Oh What a Circus’

Performed by Che, the everyman character whose cynical narration shows another side to Eva Perón, this biting number sets the tone for what is to come.  

Following the reverential ‘Requiem for Evita’, the contrast of ‘Oh What a Circus’ – in which Che pours scorn on the “howling hysterical sorrow” surrounding Eva’s death – reveals the competing narratives that are central to the story of this Evita and her place in Argentina’s history. Its  up-tempo beat and pop-style make for a dramatic shift in mood and is the first of many memorable moments in the show.  

‘On This Night of a Thousand Stars’

While Che remains unconvinced by Eva, Agustin Magaldi – the tango singer Che describes as having “the distinction of being the first man to be of use to Eva Duarte” – appears all too eager, if the lyrics of ‘On This Night of a Thousand Stars’ are anything to go by.  

Magaldi’s dramatic performance of this tango-textured love song captures the romanticism of the era, while Eva – more ambitious than enchanted – takes her first step toward fame on the dance floor of a 1930s provincial tango club.

‘Buenos Aires’

Eva’s big hello to the city of Buenos Aires is also her first big number. It’s quite the introduction: assertive, confident, perhaps even bordering on brash, but certainly full of – as the woman herself says – star quality. ‘Buenos Aires’ is buoyed up by Eva’s delight, and with its infectious samba rhythms and unashamedly excitable lyrics it’s hard to resist feeling her delight every time you hear it.

‘I’d Be Surprisingly Good For You’

‘I’d Be Surprisingly Good For You’ marks a significant moment for Eva – and, indeed, for the man who is about to become her husband, Juan Perón. Because this is no ordinary encounter: It’s a tango full of ambition and drama, and while Eva and Perón slow-dance their way into a relationship, the lyrics reveal much about the characters who are performing them. Eva is clear and unequivocal about what she wants from Perón, and it’s not “a frantic tumble.” But Perón understands Eva. For a love song, it may seem transactional, even cold, but there’s acceptance on both sides, and it certainly marks the beginning of a successful partnership.

‘Another Suitcase in Another Hall'

‘Another Suitcase in Another Hall’ is a classic ballad, full of yearning and vulnerability, performed not by Eva but by Perón’s unnamed Mistress. Kicked out of Perón residence by Eva, the Mistress cuts a lonely figure onstage as she appeals plaintively for guidance. In contrast to Eva’s unashamedly confident delivery, this song is – as the Mistress character herself seems to be – delicate and a touch naive.  

Poignantly positioned between ‘I’d Be Surprisingly Good For You’, that powerful demonstration of Eva’s ambition, and ‘Perón’s Last Flame’, which lays bare the criticism Eva faces for her ambition, ‘Another Suitcase in Another Hall’ is memorable for its simplicity and sweetness, whilst also serving to underscore what a singular figure Eva is.

‘Don’t Cry For Me Argentina’

Chances are you know this one. As iconic for its imagery as it is for its music and lyrics, ‘Don’t Cry For Me Argentina’ captures the defining moment of Eva in her lavishly beautiful gown, standing on the balcony of the Casa Rosada, looking out at the people of her country, asking them to love her the way she loves them.  

It starts softly, the simple melody gradually sung more impassioned as Eva recounts her journey to an adorning public that seems to be hanging on to her every word. She basks in their applause as the music builds and builds, sweeping away any doubts. Whether she is being entirely sincere is open to interpretation, but there’s no denying the power of this dramatic, show-stopper of a song, perfectly placed at the top of Act Two when Eva seems to be at the height of her influence.  

‘High Flying, Adored’

And just as he did after the ‘Requiem for Evita’, Che brings things back down to earth, forcing Eva and the audience to look at her success with a more critical eye. In ‘High Flying, Adored’, he speaks of Eva as an “instant queen” with “a long, long way to fall”, questioning what comes next.  

“A shame you did it all at twenty-six,” he sings – not as scornful as in other moments, but wistful. Despite the title, the song offers only a hint of praise. The music is upbeat, but it can’t hide Che’s bitterness, and this time Eva defends herself. “I was lucky,” she admits of her role. “But one thing I’ll say for me/ No-one else can fill it like I can.”

‘And the Money Kept Rolling In (And Out)’

With its repeated “Rollin’ rollin’ rollin” refrain and its high energy pace, this song might be one long taunt by Che, but it’s irresistibly catchy and one that makes you want to dance. Che speaks about Eva’s “blessed fund” and the “happy grateful looks” of the people her Foundation has helped, whilst simultaneously blasting her for ignoring the accountants that “only slow things down”, painting her as careless, even greedy. ‘And the Money Kept Rolling In (And Out)’ is dripping in sarcasm and Che’s trademark cynicism, but it’s undeniably infectious, and one that’ll be rolling around your head for a long time after the curtain falls.

‘Waltz For Eva and Che'

Another wonderful example of the competing ideas at work in this show, the music of ‘Waltz For Eva and Che’ pairs sweeping romantic music with pointed, confrontational lyrics. In most stagings of Evita, this song marks the first time Che addresses Eva directly, and she responds. This face-to-face exchange makes the moment unforgettable but also it is such a powerful moment because of what it signifies in terms of Eva’s character. Is Che the voice of her conscience? When she speaks to him, is she acknowledging his criticisms? Or is it just another way for her to show her defiance, even as her health fails? Most waltzes don’t leave you asking questions like this.

‘You Must Love Me’*

If ‘Don’t Cry for Me Argentina’ was a politician’s request, this song is a plaintive cry in the dark. Eva is dying, and she’s pleading for her husband’s love. Or is she acknowledging that he does love her, surprised to realise that a partnership based on mutual self-interest has developed into something real? It’s a song that asks more questions, whilst also moving, beautiful, and tender.  

Originally written for the 1996 film adaptation of Evita, ‘You Must Love Me’ reunited Tim Rice and Andrew Lloyd Webber 20 years after the release of the first Evita album. As with many of the show’s standout songs, its exact meaning is open to interpretation, but there’s no dispute that its emotional impact is timeless and its grace enduring.

Like Eva Perón herself, perhaps.