The Open Air Theatre is rightly heralded for pampering audiences with the range and depth of its musical offerings.
In the last five years alone we have been treated to Porgy and Bess (2014); Seven Brides for Seven Brothers (2015) and a the frantic delight that was Little Shop of Horrors (2018).
Jesus Christ Superstar, by Andrew Lloyd-Webber and Tim Rice, was so well received (in 2016), that it returned the Regent's Park a year later to equal acclaim.
And now, as the culmination to another memorable season, the Open Air Theatre brings us the duo's rock opera Evita, which also followed Jesus onto the West End and Broadway stages back in the 1970s.
With a score that includes Oh What a Circus and the eponymous Don't Cry For Me Argentina one could bank on this being a real crowd pleaser.
And it undoubtedly is, breaking records for ticket pre-sales.
But one also expects the Open Air Theatre to bring something fresh to the party when reviving a theatrical staple.
And boy does it!
From the literally explosive opening, this production surges with vitality and gripping musical and visual tempo.
The swirling confetti that wraps the audience during times of national celebration contrasts sharply with the acrid smoke flares used during periods of political unrest and turmoil.
The simple staging sees tiered stepway topped with the five giant letters spelling EVITA, should we be in any doubt as to the sole focus of our evening's attention.
For this is the story of Eva Duarte (Evita) who lures and then marries Juan Domingo Perón and, as Eva Perón, guides her husband to the Argentine Presidency.
In doing so she is venerated by the people and equally decried by its military.
The role of Evita, in a production like this, is a staggeringly demanding ask of an actress expected to sing, dance and be captivating presence and Samantha Pauly is mesmerisingly dominant.
She portrays Eva, as a whisp of a thing, from Argentina's impoverished lower classes but with a steely determination to use whoever and do whatever it takes to get to the top.
Based on her life story, Eva was just 15 years old (in 1934) when she first took of to Buenos Aires and slept her way to 'pop' stardom and celebrity status.
On marrying Perón, Eva expects to join the echelons of a society but it was never likely to embrace someone of her lowly class.
Eva's life of drama, trauma and esteem was cut short by cancer at 33. No time at all for someone to have achieved such iconic status.
This all comes across in Pauly's shimmering performance.
The other ever present and absolutely key role in Evita is that of Che, which is Spanish slang for friend or pal (rather than as Che Guevara depicted in some productions).
As such Che must represent the collective voice of the Argentine working class and, in this respect, Trent Saunders plays the masterfully well.
He is the engrossing embodiment of an emotional and physical gauntlet run by the Argentine people during this turbulent period in the country's history.
Mention must also go to Ektor Rivera as Juan Perón and to Frances Mayli McCann as one of his mistresses, and who provides a deserved show stopping moment with her rendition of Another Suitcase In Another Hall.
And finally it is impossible to overstate the pivotal role the whole ensemble plays in a production of this nature or to overlook the majesty of the full orchestra.
When the rousing final ovation for Evita had subsided and the cast of Evita had been allow to leave the stage, I was left with memories of a wonderful 2019 season at the Open Air Theatre.
And left looking forward in eager anticipation to 2020.
Evita plays until 21 September 2019.
See also : The Open Air Theatre Regent's Park is a theatrical must :