The top billing given to lyricist Tim Rice in the programme for Evita seriously undervalues a musical score from Andrew Lloyd Webber that I judge to be the best in his distinguished career.

Don’t Cry For Me Argentina – a huge hit precisely 40 years ago - is surely the finest tune from the composer’s pen.

At the time it topped the charts, this was all we knew of Evita, the musical joys of which – in a glorious celebration of the sounds of South America – were not heard until the following year.

Julie Covington, who had the hit, opted not to deliver the role of Evita on stage, a decision that was to make the name of the then scarcely known Elaine Page.

Emma Hatton is the latest to portray the flawed and fragile figure of Argentina’s first lady, in this first-class production directed by Bob Tomson and Bill Kenwright.

Hers is a superbly acted performance, in which is shown the determined, not to say ruthless, struggle to the top of a woman from the wrong side of the tracks in a country where, in political terms, class was all.

“The death of an actress” – with what contempt does commentator Che deliver that word in the opening number.

Rarely off the stage over the next two hours, Gian Marco Schiaretti supplies a brilliant account of the role, with dark good looks and a soaring tenor voice that surely mark him out for stardom.

A highlight comes in his delivery of High Flying Adored, one of a bumper crop of fine melodies that confound those who say, ridiculously, that this is a one-tune musical.

Sarah O’Connor’s Mistress seizes her moment in Another Suitcase in Another Hall and there is excellent work, too, from Oscar Balmaseda as the cheesy vocalist Magaldi who serves as first rung on Evita’s determined ascent to the top.

Kevin Stephen-Jones, as Peron, completes the excellent line-up of principals in a show where the whole cast work their socks off.

Matthew Wright’s set is perfectly lit by Mark Howett.

It runs until Saturday. atgtickets.com

CHRIS GRAY 5/5