“…Apart from Matchmaker, it is difficult to pick out any high-spots. Fiddler on the Roof is just one high-spot after another. Because of the tableaux nature of the piece each song is a large production number which manages to be breathtakingly spectacular and moves the story along…”
Lieutenant Stephen Wraysford arrives at the front already bitter and scarred by a doomed love affair and, needless to say, things get a lot worse. Initially he lacks the empathy and understanding needed to fulfill his role leading his motley troop of tommies. He lacks compassion and resents the skylark’s happy song and carefree flight because, he claims, it doesn’t care. But as he is aware, what good is caring when everything you care about is taken from you.
“…The strength of Evita over many other musicals of the past twenty or thirty years is its sheer volume of great numbers. You have to go back to the shows I mentioned earlier, and their like, to find so many outstanding songs per square yard. With Les Mis, Phantom or Cats, for instance, you only have one or two great, show stopping numbers. Evita has lots and lots….”