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Evita
Posted by Luscious 2012-03-15 07:07:16

Evita
Posted by My Oh My 2012-03-15 07:33:59

Holdyourbatboy, just out of curiosity, what is exciting and entertaining theatre to you? You said the production and performances failed to move you but that the style and 'pop' feel was enough to sustain your interest.

To each his own, but speaking for myself, great theatre is moving. And not just on a superficial level. That's exactly the problem I have with Phantom nowadays in that I don't feel crap for the characters. Although I will say I've always loved Prince's staging and Maria's designs but there comes a time when the lack of emotional connection to the story becomes annoying enough you no longer enjoy it. Maybe that's similar to how you felt with Evita?

Just watched that curtain call video posted here and what immediately stood out to me was the orchestra's reedy sound...a red flag to me that usually means they've substantially reduced it and rearranged everything to cover that up. I'm not infallible and have been wrong once before--I was certain I was hearing some tinny, hollow sounding mess when I first heard an audio of the A Chorus Line Broadway revival out-of-town try out in San Francisco. One of the things I love about the show is its blaring brass and recoiled at what I heard.

Never in my life has an audio of anything of any quality been so wrong and to this day I wonder what made it sound so awful. When you have an ear for music like I do, even the crappiest sound quality can't hide a great orchestra and its distinctive nuances that signal it is, indeed, real and alive.

I was relieved, to say the least. As, not only is A Chorus Line one of my favorite musicals, music is a huge part of what makes live theatre so exciting and unique to me. I don't know how most audiences can sit there and not care what's producing the single most important aspect of an art form they claim to love.

I can only hope my ears are wrong for Evita, too. Because it's also one of my favorite musicals and I won't go if the usual "let's chuck half the orchestra and re-orchestrate to hide that so we can boost profits" ends up being the case.

Evita
Posted by Auggie27 2012-03-15 10:11:09

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To get back to an earlier discussion: I must wholeheartedly agree with MichaelBennett about the film's lip-synching being a sum negative. The performances feel almost entirely set in the recording studio and you can even see Jonathan Pryce handcuffed by the pre-set line readings. Madonna fares the worse, because she's not a natural (or to be fairer, experienced) actor; she generally works best on film when she's allowed a degree of sponteneity, even improv. In EVITA her performance is vocally predetermined, and you catch her indicating at key moments to suggest the life underneath the songs. The one exception is "You Must Love Me," curiously the only song written just for her. In its performance I see what might've been. She's never dreadful, but she's seldom (except that song) thrilling. It's too bad, because the film is stunning visually, just about perfect in terms of capturing the era and the dramatic event in each scene.

It's relevant because to a certain extent even the stage show suffers from this problem of pre-determined performance. Of course every song is open to fresh interpretation eight times of week. But in a sung-through show that's so often presentational -- only a handful of sequences are traditional "scenes," even by operatic terms -- EVITA can feel like a staged music video. I thought that in 1979, and wonder if that's an issue in this new, more realistic take on the material. The lack of immediacy is built-into the structure of the show, as it depends so heavily on Che's shorthanded narration to inform us, to establish the show's point of view, and to underscore the dramatic point of any moment. The two bedroom scenes -- "Dice are Rolling" and the one in act two -- are rare moments of character interaction, with a chance for people to simply look in one another's eyes and relate. Parker tried to make "Buenos Aires" less presentational by placing Madonna's dance sequences only in clubs or dance halls -- to provide a reality check, to make us feel that the young Eva came alive in the BA nightlife. But on stage, it's all to the audience, almost all handed-down impressions. I was comparing Eva's arrival in B.A. with the mother-daughter scenes in LIGHT IN THE PIAZZA. Yes, apples and oranges, I know that. But the sense of discovery in PIAZZA as the two women have their breath taken away by the glory of Italy, is what's so missing in EVITA on stage. It's this woman telling us, not ever really experiencing much it in front of our eyes. It seems like a small thing, but it's another way the show -- as theatrically sharp and exciting as it is -- can hold its audience at arms length.

Evita
Posted by Michael Bennett 2012-03-15 10:22:23

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The Hal Prince production embraced the vignette nature of the material and I think made the show ultimately more satisfying because of it. Though more realistic, Parker was able to bridge vignette and story on film with the inclusion of a lot of montage work - visually bridging the time line.

Grandage is also attempting something more linear and literal, but the problem with that for the stage is that as a narrative the show has a huge amount of holes in it. To me the approach only highlighted the flaws with the material - I've never noticed, for example, how little time on stage Eva actually has in Act 1 before now.

Its probably worth noting that there are no bedroom scenes in this production. There is some sensuality in the dance ("I'd be Surprisingly Good for You" has a lot more heat here than it did in Hal Prince's staging) but over-all, Eva's bedside behavior is played way down this time.

Evita
Posted by best12bars 2012-03-15 11:03:15

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I saw a national tour of Evita early on with Florence Lacy as Eva. A few years later, I was in a production of Evita with Marin Mazzie as the lead.

My opinion is that the show largely succeeds because it's an incredible "star vehicle." But honestly, aside from the killer role and (potential) tour de force performance from its star, there's not a whole lot else outstanding about it. The music is beautiful and compelling, yes. The lyrics are biting and thought-provoking, but they are also cold and academic. The whole thing feels like a history lesson as told in an op-ed section of a newspaper.

It's an "interesting read," but I was never emotionally swept away by this musical. Not when I saw it or when I was in it, despite witnessing two incredibly good performances from leading ladies.

Basically, if you don't have a "wow" performance from Eva, you don't have much of a show. And with a polarizing Eva in this production, you're bound to find as many opinions about whether the show itself is any good.

Evita
Posted by Owen22 2012-03-15 11:18:22

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The problem with Evita not being completely compelling is that it's not really a musical. Its a pageant. There are a few scenes with people talking in a room, but mostly its a grand cavalcade of Eva Peron's greatest hits. Now, what is compelling is the music and, if played by the right actress, Evita herself. The movie was no different, which was another reason that Madonna was more than halfway okay in the role. Still, Evita was a major force in my young life, I loved Roger in the London version and have paid my 137 bucks (dear god) to see it at the Marquis. Now, without the Brechtian Prince touches which, though distancing, were amazingly theatrical, the show is even less formidable, But again, still, the music is great...

Evita
Posted by Michael Bennett 2012-03-15 11:24:22

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I really do believe that the show more than anything requires a visionary director over a visionary performance. As others have pointed out, the original production of EVITA may have made LuPone a star but it was never a star vehicle after her and was a hit around the world with a huge array of different women (ranging from spectacular to near awful) playing the role. I have to attribute the show's initial huge global success thus on the Prince staging and the audience intrigue over the subject matter rather than the performances of the woman in the title role.

I think WICKED would be the closest example to a similar situation today. It may have helped solidify the star status of its two original stars, but the show is a hit every where it goes, even with some hit or miss performances in the leading roles.

Evita
Posted by Owen22 2012-03-15 11:39:36

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well, Michael, I would have to disagree as Wicked is BARELY directed, its power is in its writing, creating, using typical musical comedy tropes, two complex women set against a plot mixture of girl power and fighting fascism. There are parts of Wicked that drive me nuts (shoe-horning Wizard of Oz references in the second act to the detriment of character) but with Wicked, its the story (told with, as opposed to against, the music) that makes Wicked a completely different animal then Evita.

Evita
Posted by Michael Bennett 2012-03-15 12:09:56

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I would agree that WICKED is more story driven and that is probably what drives the success of the production more than anything; though I have to disagree about the direction. For what it is: a popular mainstream musical for midwestern tastes, Joe Mantello gave the production exactly what its target audience wants.

Evita
Posted by best12bars 2012-03-15 13:07:30

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MB, there's no way that anyone other than the original show's leads (Wicked and Evita respectively) were going to become household names or stars as a result of their performances in those shows. They didn't have the media machine behind them. There were no press junkets, cast recordings, newspaper and magazine articles about them, etc. The marketing campaigns don't push or even discuss the replacements, once a show becomes a hit, unless they're already well known.

Even if there have been plenty of Evas, Elphabas, and Glindas who have given "stellar" performances. I'll bet most people could tell you who they saw play those parts on Broadway. Even if they were the 4th replacement, etc., (unless of course they sucked).

I guess I wasn't clear by saying a "star vehicle" role. I didn't mean that it guaranteed anybody who played the role would become a star or household name. There's no such thing for any role or show.

Only that it's a major showcase for whoever plays the part.

Evita
Posted by TheBatBoy 2012-03-15 13:13:18

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You've peaked my interest when you said Marin Mazzie was in the starring role as Evita. While several years ago she probably looked the part, she doesn't strike me as someone who could actually sing the part. She's a talented singer for sure, but I don't picture her voice in that role. How was she?

Evita
Posted by Patti LuPone FANatic 2012-03-15 13:32:03

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So, how did it go for the 2nd preview? Anyone? from Roman in Austin, Texas

Evita
Posted by best12bars 2012-03-15 13:40:33

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TheBatBoy---this was many years ago when Marin had much more of a mix. She still didn't belt the highest notes full on, but it was really hard to tell the difference. Her voice was amazing and clear as a bell with no discernible break, and she sang the hell out of the role. She was in her mid-20s at the time and a little bit young for it, but other then that, she blew us all away.

As part of the ensemble, I had various solo lines here and there, and I got to sing "Good Night and Thank You" with Marin as one of her "lovers."



She went back to NY after our summer season and right into her first Broadway show (Big River, replacing Patti Cohenour). She came to do Evita having just finished the La Jolla production of Merrily We Roll Along. So our "Evita" was in between Merrily and Big River.

Evita
Posted by jacobsnchz14 2012-03-15 14:10:22

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Is "You Must Love Me" in this production as it was in London? Just wondering because PlaybillVault.com hasn't posted any Inside The Playbill photos yet.

Evita
Posted by Patti LuPone FANatic 2012-03-15 14:12:45

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Yes Jacob, "You Must Love Me" is included in this production. I didn't look at the songlist during the 1st preview, so I was surprised when it came on. Elena's voice was right for that particular song. from RC in Austin, Texas

Evita
Posted by StageManager2 2012-03-15 17:15:00

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"She was in her mid-20s at the time and a little bit young for it"

A little young? Eva is in her twenties for much of the show. She died only 2 months after her 33rd birthday, and the part in her thirties is toward the end from "Waltz for Eva and Che" on.

Evita
Posted by RippedMan 2012-03-15 17:36:37

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Is this a hot ticket right now? Or would it be easy to get a rush ticket?

Evita
Posted by CarlosAlberto 2012-03-15 18:18:27

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It's MUY, MUY CALIENTE!

Evita
Posted by bundy5000 2012-03-15 18:20:13

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Any merchandise available?

Evita
Posted by best12bars 2012-03-15 18:23:24

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Right, SM2, because everyone in their mid-20s looks, performs, and behaves with exactly the same maturity level as everyone else.

EDIT: I will also add that even though I wouldn't rule out a 25-year-old actress playing Eva, you'd be VERY hard pressed to find one who could wrap her head around that role. I'm not talking about singing it, I'm talking about acting it. Most don't have the maturity, experience, and (acting) range that it takes.

And there's a massive difference between 22 and 30. You're still not much more than a college kid at 22, mostly without any life experiences to call your own, including living on your own. By 30, you're an entirely different person. Even the difference between 25 and 29 is huge.

Again ... I'm not talking about anything physically, I'm talking about what it takes emotionally as an actor. A lot goes on during that time.

Evita
Posted by Wilmingtom 2012-03-15 18:31:23

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I'm confused by the idea of any of them using a Spanish accent. Obviously, were it realistic, they'd be speaking Spanish but because it's being done for an English speaking audience, they're doing it in English. It's a device. When they do the Spanish language version of Oklahoma! do you think they speak in Spanish with American accents?

Evita
Posted by best12bars 2012-03-15 18:35:14

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I don't think Roger has much of a choice. Her own accent is very thick, and I don't think she can lose it or even tone it down much.

Evita
Posted by StageManager2 2012-03-15 18:51:05

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besty, Eva ages from 15-26 in the first act; in the second act she's 27 at the inauguration, 28 during her Rainbow Tour, and the same age when she starts her foundation. A lot of the big events happen when she's in her twenties (or younger), so I don't see the problem with a twentysomething playing the role.

Evita
Posted by Patti LuPone FANatic 2012-03-15 20:54:25

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It's mostly t- shirts. No progamme is available at this point. (I was surprised about that.) from RC in Austin, Texas

Evita
Posted by best12bars 2012-03-15 21:25:21

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SM2---I still don't think you're grasping what it takes to play a role like this well.

I also don't think Eva Duarte was remotely a typical 20-something by anybody's standards.

And most "Broadway teens," particularly late-teens, are played by actors in their mid-to-late-20s. Most roles written for characters in their mid-20s are played by actors going all the way up to 40.

(or 70 if you're Barbra Streisand)

Elena Roger is 37. Patti LuPone and Elaine Paige were both 30. And there's a big difference in maturity and both professional and life experience between 25 and 30 (as I mentioned before).

Yes, there are exceptions to every rule, but you would be hard pressed to find a 25-year-old who could fully grasp the acting challenges and full scope of the role of Eva Peron.

Evita
Posted by kyl3fong2 2012-03-15 23:50:00

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@RippedMan: Tonight's performance was sold out. Got there at 7:45AM this morning to get tickets and by around 8:20AM there was a huge line already. So yes, I would say this is a hot sell right now.



Anyways I saw the show tonight and I absolutely LOVED it. I wasn't entirely sold on Elena Roger but by Act II I warmed up to her a bit. Ricky Martin was one of the highlights for me. I was really surprised how good he was in his role. Also the actress playing the Mistress had FLAWLESS vocals and she nailed "Another Suitcase in Another Hall".

You can count me as one of the people who enjoyed the show. ALW was also in the audience tonight.

Evita
Posted by Jonwo 2012-03-16 00:16:31

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It's interesting that it's selling on Broadway as this production wasn't a success in London. It'll be interesting how it does at the Tonys.

Evita
Posted by CATSNYrevival 2012-03-16 00:21:54

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^It didn't have Ricky Martin in London. It'll probably sell on his name alone for the first few months at least.

Evita
Posted by sopranobiz 2012-03-16 13:01:11

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I know they are still in previews and they have a lot of work to do but here on my thoughts on the show.

I was generally let down. The whole show seemed drab (except for some fierce choreo). I have no idea what the Hal Prince show was like but I'm sure it was a lot more exciting than this version probably because the title role could sing it. (More on that later)

The audience went crazy for Ricky Martin to the point of it taking away from the show. He was passable. Like I said I know it was only a preview so maybe he's still finding his character. It seemed like he was a little stiff last night. I was sitting up at the top so the mustache that everyone hates didn't distract me that much.

Michael Cerveris!!! Can this man do no wrong?? Brilliant in every way which says a lot for a thankless role like Peron. "She's a Diamond" (I think that's the name of the song) was one of the acting highlights of the show for me.

Rachel Potter was sweet as the mistress. I used to intern at Telsey casting a many years ago and I understand they had a hard time casting this role which utterly confuses me. There was nothing special or moving about her. I thought she looked too old also. Isn't the mistress supposed to be, like, 16? She sang it fine but it I found my mind wandering the entire time.

I've never seen Max Von Essen in anything and I thought he was a stand out in the whole show maybe one of the most exciting parts.

Ok. Elena Roger. (eye roll) I know you're an amazing actress and it's a huge deal because you're from Argentina but do you know that this is meant for a woman with a FIERCE VOICE??!! Come on!! I was so disappointed I don't think I'll ever get over it. Rainbow High should be one of the highlights of the show and there was just no power to her belt. I didn't care how amazing she was as an actress. I want someone who can sing. Her best moment was "You Must Love Me" because a monkey could sing the song. Oddly enough her accent didn't bother me too much. Just so disappointing. I want Stephanie Block. (pouty face)

You can't even move afterwards because people are waiting for Ricky Martin to come out. I left the show let down and was really annoyed by that.

I give it a 3 out of 10 but I'm sure Ricky Martin fans will keep this turkey open.

Evita
Posted by kyl3fong2 2012-03-16 17:44:28

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@sopranobiz --- I must disagree with you on the voice of the Mistress. I thought that though she only had one song in the entire show, her voice was absolutely enchanting.

I DO agree with you regarding Elena Roger though. She was passable, but her voice was weak in certain points of the show.

And like you said, the choreography was PHENOMENAL. I didn't hate it like you did however. I really enjoyed the show and would give it a 9/10.

Evita
Posted by wicked1492 2012-03-17 03:06:22

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I saw the show Thursday night and really enjoyed the production as a whole. The set is gorgeous, breath-taking, and one of the best I've ever seen. The ensemble is very tight and are all excellent. Elena is extremely underwhelming. Her belt is very thin and weak and has no ping. Her acting choices really didn't impress me and I never once saw the light *in* her eyes before it left. I honestly wish I'd seen DeCicco. Ricky Martin cannot act his way out of a paper bag, but is fine in a role that is seemingly easy but so much more could be done. Cerveris is great in a thankless, underdeveloped role.

Overall, I'd give it a 7/10.

PS: The Marquis didn't have the air-conditioning on and it was blazing hot, so it really added another layer to the already life-like Argentinian atmosphere.

Evita
Posted by bwayphreak234 2012-03-17 03:24:24

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God I must be in the vast minority in that I absolutely adore Elena Roger's voice and performance...

Evita
Posted by Amneris 2012-03-17 10:18:59

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bwayphreak, I am right there with you on the Elena Roger train. I saw the show and found it a truly fantastic production. I have never seen "Evita" live before and had only watched youtube clips of Patti, Elena in London and listened to the cast recording. I think many people are being way to harsh on Elena expecting her to give Patti LuPone's performance of nonstop belting. I support Elena for making healthy vocal choices and having somewhere to go throughout the show. You really saw the way Eva's character evolved because of her vocals, spot on acting abilities and exciting dance moves. I loved the choreography of the show, the lighting (especially during "Don't Cry For Me Argentina"). I found myself getting choked up during that scene because it was so gorgeous. I really felt that the entire cast did a tremendous job. Ricky Martin gave the role of Che his all, Michael is terrific as Juan. I think a lot of people are going into this show expecting powerhouse vocals when they need to stop comparing Elena to Patti. I also had no idea how Elena Roger was able to do about 10 kicks, turns, flips and partnering during "Buenos Aires" and still have clear, strong vocals at the end. To each his own but, I happened to have loved her performance. I am not sure how many people here including myself can dance like she did and still be able to sing ALW & TR's score. I hope people start to embrace her in this role.

Evita
Posted by TexanAddams18 2012-03-17 19:48:15

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Really curious to hear the scoop on Decicco today

Evita
Posted by Patti LuPone FANatic 2012-03-17 22:08:00

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I don't believe that people are expecting Elena to give a carbon-copy performance like Patti or Elaine. Rather, I feel that some people are a bit disconcerted that Elena's vocals are not stronger. There are certain songs that require a degree of strength and emphasis that are not expressed by Elena's way of singing. I wonder how the critics will respond to her. When I was at the first preview, I wasn't really familiar with Elena. After that was over, I was a bit underwhelmed with her. All in all, it was a good show...but still. from RC in Austin, Texas

Evita
Posted by random person 112 2012-03-17 22:28:27

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^With all due respect sir you are contradicting yourself there, you expected a belter like Lupone, and Paige and when Roger wasn't you were clearly disappointed.

Evita
Posted by fingerlakessinger 2012-03-18 01:27:51

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This is my take on this Evita=Belter issue.
The role has become known as a "belt" role. The original score has her belting out F's and G's if I am not mistaken. There is a certain amount of power we have become used to hearing. Yes, that is in part because LuPone was the "original" and she has a distinct voice. But the fact is, the part is originally written for a strong belt voice.
Now don't get me wrong. I'm sure Elena has a fantastic voice (I love her as Fosca) but for me, the lack of power behind her vocals for this particular role does not thrill me. For the softer songs, she sounds fantastic, but for "A New Argentina" I want to be thrown to the back of the house. Especially with "He supports you, understands you, is one of you!" I don't feel that with her. I'm seeing the show next month hopefully. But from the "things" I've heard...I'm getting a feeling that in terms of vocals she may not be my cup of tea. Again...I'm holding out till I see it to be 100% positive.

Evita
Posted by BenjaminNicholas2 2012-03-18 02:39:51

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I saw Elena originally in London and I saw her again with the opening preview in NYC. My reaction is the same with this new production, with perhaps a bit more vitriol due to Ricky Martin mugging his way through the show.

London's Matt Rawle is a tough act to follow and Martin, so far, isn't up to the challenge. His worshipers can keep the show open I'm sure, but his performance is strictly community theatre as it stands.

Roger isn't giving me a worthy enough acting performance to force that miniscule vocal on the audience. It's as bad as it was years ago in London.



BN

Evita
Posted by bundy5000 2012-03-18 03:03:31

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(POSSIBLE SPOILERS) I went into Evita with very high expectations. Why? Because of listening to Paige and Lupone. Is it fair to expect a mimic of them? No BUT I did expect another versatile signature voice that would give Evita some variety. Elena doesn't seem comfortable in the role. I never saw a production of Evita so I might not be the best critic but it seems she has very little command of the stage. Buenos Aries and Rainbow High were the numbers I was looking forward to the most and they both felt flat. Don't Cry for me, WHAT A WASH OUT. Elena seems almost like a national touring Evita not a broadway evita.

What I did like about the show was the set,ensemble,choreography, and how it flows magnificently (it being in previews). Ricky got better, along with Elena as the show went on. High Flying Adored I appreciated a lot. The set in the second act reminds me of Grand Central. Orchestrations are spot on. I don't know about all the smoke/dry ice effect throughout the entire show because of the smell. That's my take on Andrew Lloyd Webber's masterpiece. I will see it again in a month or two but the only changes I can foresee is in Ricky and Elana. Everything else seems fine. And I did stage door it. Ricky came out and signed at most 15 items and left. Don't know if that is how he usually does it but just a heads up. I didn't stay for Elana and Michael cause I was there for at least 45 min so for all I know they left through another door.

Evita
Posted by wdwfreak 2012-03-18 12:30:08

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What's the running time?

Evita
Posted by bundy5000 2012-03-18 12:39:38

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I was told 2 hours and 25 min. But it was closer to just 2 hours

Evita
Posted by SondheimFan5 2012-03-18 13:10:16

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How is Christina DiCiccio??

Evita
Posted by J52 2012-03-18 15:38:03

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Right? I'm dying to know. Did anybody see her??

Evita
Posted by sopranobiz 2012-03-18 22:17:24

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I forgot about the other Evita. When does she go on?

Evita
Posted by allyk 2012-03-19 11:45:54

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Wednesday nights and Saturday matinees.

I have a ticket to see her May 9th and she has never failed to impress me in any other show she's done so I'm quite excited to see her as Eva.

Evita
Posted by Michael Bennett 2012-03-19 12:38:13

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I think it will be interesting to hear what Christina's take on the material is -- my hunch is that while her voice is likely a prettier instrument than Roger's that she's not going to be doing LuPone like power belting either. That just doesn't seem to be Grandage's concept for the revival (maybe part of their concept of a softer Eva) -- the alternate in London apparently also had a fairly light voice.

Evita
Posted by CarlosAlberto 2012-03-19 13:45:47

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What is this obsession with people wanting to hear a LuPone-like belter in this role? You want LuPone? Listen to your copy of the OBC for crissake. I bet 1/2 the people posting in this very thread weren't even BORN or for that matter old enough to know who LuPone was or able to see the original 1979 Broadway production and all they have to compare this production with is bootleg videos and their well worn copy of the OBC.

This production was never intended to be a carbon copy of the original production. It is another interpretation of the material. Some people are so stuck in what they think things should look and sound like based on the past that they're closed to any point of view but their own.

Evita
Posted by bundy5000 2012-03-19 15:27:54

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Evita is the name of the show, therefore I expected the woman playing Evita to perform with conviction. I simply did not see it with Elena. Sorry my mother didn't conceive me earlier to see Lupone in Evita.

Evita
Posted by CarlosAlberto 2012-03-19 15:36:06

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Yes, I know EVITA is the name of the show.

And for the record my post wasn't directed at you personally. I totally respected your review of the performance you saw because you backed your views up which most posters on here very rarely do...if at all.

I'm going to see it next week. I'm going in with an open mind. I have no idea whether I will come out liking, loving or abhoring it but I am willing to give it a chance.

Evita
Posted by Paris.400 2012-03-19 16:20:31

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I am one of those who is still wearing out my copy of the Premier American Recording and living for Patti Lupone in this role. Elena's accent got in the way for me in London but then I thought, she's a different artist, she's singing it her way, Elaine Paige did not sound like Patti either but she was great. I saw it last Wednesday and loved it; it still needs some breaking in but it wasn't bad. I agree with going into this production with an open mind as you will find yourself enjoying it very much.

Evita
Posted by AngelorPhantom1359 2012-03-19 18:53:51

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My view of the material (not Patti LuPone, although I adore her) is that Eva needs to have a voice that is like white sound. Searing, edgy, and intensely powerful. To me, this is a reflection of the character. When she enters her upper-register its for lines like "Screw the middle classes..., But your despicable class is dead..., He supports you for he loves you..." she's being extremely aggressive and you need a power belter for that role to display her intense power.

I have yet to see this revival, but I am absolutely going to go in with an open mind. Is she Patti LuPone? No. She's Elena Roger and she's performing Eva the way Elena Roger sees her. If you want to see Patti then you're going to be let down, but if you enter a performance with an open mind and a willingness to accept the material presented in a different form then you almost certainly will enjoy the show.

Evita
Posted by PattiLover 2012-03-19 22:44:12

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"VERY hard pressed to find one who could wrap her head around that role. I'm not talking about singing it, I'm talking about acting it. Most don't have the maturity, experience, and (acting) range that it takes."

That's basically what Magaldi says to Evita - she's just an amateur.

I've always thought Evita should be played by someone in their early 20's. Someone raw, with natural "star quality." Younger actresses seldom get plum roles which become their benchmarks like Evita when they're very young. Patti's interpretation is naturally my favorite, but she's better as the established, vengeful Eva than the youthful street tramp just cutting her teeth on fame. I want to see youthful wonderment, as she enters Buenos Aires, like her first orgasm. Haha...

I'm disappointed to read Elena is 37. I had the same problem with Madonna. You see the Evita as a little more wizened and you miss the Eva and her pretense-free runaway who slept around and stuff.

I'm interested about DeCicco's performance - any word yet? Loved her in everything, specifically as Eponine - which I think would work well for her.

Need to add that this is probably the best thread about Evita I've ever read on the internets.

Evita
Posted by bwayphreak234 2012-03-19 22:58:53

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I cannot stop listening to the London cast recording... I find Elena Roger to be absolutely incredible and I adore her voice. I look forward to seeing the show this summer!

Evita
Posted by Michael Bennett 2012-03-19 23:59:36

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Elena looks very young during the early parts of the play- she actually is one of the few people I've seen do the role who I think is equally convincing playing Eva's age at all parts of the story

Evita
Posted by CarlosAlberto 2012-03-20 07:41:04

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If you want to see Patti then you're going to be let down, but if you enter a performance with an open mind and a willingness to accept the material presented in a different form then you almost certainly will enjoy the show.

EXACTLY.

Evita
Posted by broadwayguy2 2012-03-20 11:29:01

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I want to chime in as someone who walked into this production with a reasonably open mind. I love a few numbers from the show, but have never been an Evita junkie, listening to every woman who has ever played the role. I am certainly *not* a Patti LuPone fan and I was certainly excited to see a new take on the material.

That said, I walked out of the theatre with a severe disappointment in Ms. Roger.

Ms. Roger dances the role beautifully - I was shocked at how dance heavy the show is for Eva here. Ms. Roger seems to *act* the role just fine for the most part. I buy her as Eva. The problem is truly and 100% her voice. Her mid-range is pleasant enough, if a bit harsh at moments, but her lack of a belt and her upper register were unforgivable. Did I want a LuPone belt? No. But her voice because notable thin and VERY quite any time she had to belt or go into her upper register. It wasn't that she was not belting, is was the fact that those notes are just not there for her. To make matters worse, her accent is completely unintelligible if you do not know the libretto. I am sure that here on the board, most people know the beats of the plot, if not the actual words. If you don't, you are lost at sea for half of Ms. Roger's performance.

Unfortunately for them, the small group next to me had never seen Evita before and I found myself answering a few questions at intermission. The reason they were lost? "I have no idea what she is saying!"

I found it also very telling that the reception for Rachel Potter at the curtain call was NOTABLY more enthusiastic than the reception for Elena Roger.

Evita
Posted by Paris.400 2012-03-20 13:06:28

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"I found it also very telling that the reception for Rachel Potter at the curtain call was NOTABLY more enthusiastic than the reception for Elena Roger."

Noticed that at the stage door, too last Wednesday. As soon as Ricky Martin left the throngs of screaming fans disappeared, Rachel came out and signed way more autographs than Elena.

Evita
Posted by Michael Bennett 2012-03-20 13:08:06

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Well there you have it, Rachel Potter should clearly be playing the title role since she signed more autographs at the stage door than Elena Roger.

Evita
Posted by kyl3fong2 2012-03-20 13:12:28

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For me, I did not find a problem with Elena's diction whatsoever when she was singing. I could hear the lyrics very clearly throughout the entire production.

Evita
Posted by Paris.400 2012-03-20 13:44:56

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"Well there you have it, Rachel Potter should clearly be playing the title role since she signed more autographs at the stage door than Elena Roger."

Elena is amazing in the role; seemed very rude of the crowd.

Evita
Posted by broadwayguy2 2012-03-20 17:09:05

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LOL @ Michael Bennett. So true.

I was nowhere near the stage door, so I can't speak to the crowds there. I can only speak to curtain call response.

Paris, that is hardly rude of the crowd. If one doesn't want an autograph, it is not rude to not ask for it. As far as 'amazing', it is wonderful that you think so and I would have loved to walk away knowing i had seen an 'amazing' Eva, but I did NOT enjoy her performance in the role and a good amount of the theatregoers seated around me felt the same.

Evita
Posted by random person 112 2012-03-20 20:38:36

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Broadwayguy the problem is not the performance, it's that the audience finds it hard to sympathize with the ego-maniac, unhinged fashionista that is Eva. It's a fault LuPone talks about at length in her memoir.

Evita
Posted by Michael Bennett 2012-03-22 13:39:04

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Interesting feature in the New York Times about Elena Roger.

Evita
Posted by Michael Bennett 2012-03-22 13:39:04

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Interesting feature in the New York Times about Elena Roger.

Evita
Posted by broadwayguy2 2012-03-22 13:52:46

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random,
Believe me when I state that I understand exactly what you are saying, but the more tepid response to Ms Roger at curtain call, paired with the chatter I heard at intermission and during walk out, the response wasn't to the character, but to a genuine disappointment in Ms. Roger's performance.

Evita
Posted by Luscious 2012-03-22 14:20:27

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Wait and see how the audience reaction changes when the critics rave about her performance. The applause will be deafening. Most people don't have a mind of their own. They need to be told what's good and what isn't.

Evita
Posted by broadwayguy2 2012-03-22 14:38:05

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While that is quite true of sheep mentality, I often am accused of not 'following the herd' and my own reaction was "Really, there are a dozen American women who could do this better on a bad day."

Evita
Posted by iNick1224 2012-03-23 21:04:11

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Any Christina Dicecco reviews?

Evita
Posted by TexanAddams18 2012-03-23 21:06:05

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I will be seeing her on wednesday, I know a friend who saw Elena in London and saw Christina last saturday, said she much preferred Decicco.

Evita
Posted by My Oh My 2012-03-24 00:19:07

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"Wait and see how the audience reaction changes when the critics rave about her performance. The applause will be deafening. Most people don't have a mind of their own. They need to be told what's good and what isn't."

Tell me about it. New Les Mis tour, anyone?

Calm down. I don't mean everyone who liked it. Just the over-the-top audiences who clap the loudest after that SuBo number and again at the end because, well, it's over.

Evita
Posted by bwayphreak234 2012-03-24 02:23:17

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How are the technical elements for the show? Based on the pictures I have seen, the set looks gorgeous, and I LOVE the banner around the proscenium, but I would love hear more from someone who has seen it. Does the set change at all?

Evita
Posted by broadwayguy2 2012-03-24 02:56:54

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It is very deceptive.. the top of the show uses a projection screen and newsreel footage, giving way to a beautiful set for the top of the show. That entire set disappears at the start of "Beunos Aires" and then that is about it...several total changes and a startlingly beautiful reveal, and then it's the same basic set.. the side units track in somewhat at various moments, the doors along up the upstage wall open and close, there is some movement of the upstage balcony during one scene and a partial wall that flies in to hide the balcony. Otherwise, it does not change. A flag here or there.. some props - tables, chairs and suitcases, a bed.. but there are large stretches of time with nothing else onstage.

Evita
Posted by dramamama611 2012-03-24 07:22:56

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I'll be seeing Dicecco next Saturday and while I would have liked to see Elena to be able to weigh in on the debate, I'll be content to see the alternate -- especially since people think she is performing well.

I am a relative Evita neophyte: while I know the story and some of the music, I have never seen a production, and Madonna in the film never interested me.

Evita
Posted by philly03 2012-03-24 18:35:37

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Just got back from seeing Christina DeCicco. Seen her in a bunch of things over the years (u/s in Sister Act, all the Walnut Street Theatre stuff, etc) and thought she did a great job. Does not really use an accent of any type when singing, if people were curious. She has a powerful voice, but also the ability to control it in the more sentimental moments. Her dancing seemed fine as well. "A New Argentina" and "Rainbow High" were highlights for me.

Haven't seen Elena, only know of her from the London recording and DeCicco sings much more powerful.

Most of the problems I had stemmed from the production/direction - seen a bunch of Evita tours (including the great Natalie Toro & Raul Esparza tour), but I thought Hal Prince's staging was brilliant. I don't think the literal and high gloss is necessary for EVITA. I thought the "Art of the Possible" was probably confusing for those who had not seen it.

The curtain call was dead today until Ricky Martin came out and people went crazy. DeCicco also got big applause.

Evita
Posted by justafan2 2012-03-24 20:09:32

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I just ret'd from seeing Christina DeCicco and agree with philly03---I can't compare her to Elena--but her voice was very powerful and emotional. I enjoyed Ricky's performance more than I thought I would---he was a welcome narrator with a sense of humor and "reality". Overall---it was a strong show (IMO)--I hope it does well.

Evita
Posted by Patti LuPone FANatic 2012-03-24 20:38:31

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Christina de Cicco's official website...

Evita
Posted by SNAFU 2012-03-24 21:01:39

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My one question, in the original, A New Argentina, was froth with large banners being revealed and torchlight, a truly thrilling theatrical experience, one burned into my memory. Is there at least something similar in this production to close act 1?

Evita
Posted by broadwayguy2 2012-03-25 03:34:25

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Elena Roger singing in head voice, Ricky Martin carrying a flag over his head as the cast follows him in circles then casts ballots in the election. That's about all.

Evita
Posted by philly03 2012-03-25 13:10:55

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In "A New Argentina," Eva and Peron aren't in a bed anymore (but they "officially" get married). There are Argentina flags that descend down, no torches.

Martin was pretty good on the singing part, but he doesn't go completely out in the "Money Kept Rolling Out," most particularly at the end which I thought was weird. He seems like he is trying to sing in a "Broadway" voice over any pop sensibility.

Evita
Posted by phantomcrazy14 2012-03-25 14:05:11

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bwayphreak234 could you post the picture you saw of the proscenium wiht the banner you mentioned? I've seen the set but I'm very interested in seeing the proscenium.

Evita
Posted by bwayphreak234 2012-03-25 15:57:17

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Here you go! There are tons more on foursquare.com if you search Marquis Theatre in NYC
[IMG]

Evita
Posted by KChenowethfan 2012-03-25 18:55:23

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I saw the matinee yesterday with Christina DeCicco as Eva since I can't get through the London cast recording without covering my ears. She was quite great and definitely a triple threat. Overall though, I thought the production was uninspired and lacked intensity especially during "New Argentina". Ricky's singing wasn't as bad as I was expecting but his acting was at the community theatre level. Overall, I was not impressed. I'm a long time Evita fan and actually preferred the tour that came through DC a couple of years ago with the exception of Decicco.

Evita
Posted by phantomcrazy14 2012-03-26 06:07:01

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Wow. That's very interesting. Thanks for sharing!

Evita
Posted by SNAFU 2012-03-26 13:32:12

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Awwwwww too bad about A New Argentina. That number from the original version always made the hair on my neck stand up.

Evita
Posted by Bettyboy72 2012-03-26 14:11:17

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Saw Christina DeCicco on Saturday and she was wonderful-her singing and diction were flawless. She, Cerveris, Von Essen, and Potter were fantastic.

I have to say as a whole this production of Evita is a snooze. They completely pasteurized the whole affair and took the edge out of the show. It's basically a staging of the film. All the bite that LuPone and Patinkin delivered is gone. I'm not talking about singing, I'm talking about the teeth this musical has. All the complexity and commentary on society, class, and fame is nowhere to be found. It's a clean, efficient, beautiful sounding bore. Even the staging is 'meh". At the end of the show, the woman behind me said, "why did everything take place in a courtyard. Did she die outside?"

As for Ricky Martin, he will be lucky if he has a voice left for opening. He's not singing. He's talk/singing, shouting, screaming and his voice was raspy and coming in and out by the second act. He also forgot lyrics. He was the least impressive aspect of the production and he got the loudest applause. Lemmings make me ill. He did not earn a standing ovation and cat calls. He couldn't sing the part. He is charming and dynamic, but he's not singing the score properly.

If you have to choose between Evita and something else, choose something else.

Evita
Posted by Kalimba 2012-03-26 14:21:41

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Bettyboy, Lemmings??

Evita
Posted by Michael Bennett 2012-03-26 14:24:50

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I largely agree with your observation about the show as a whole, Bettyboy but would probably say rather than 'the bite Patti LuPone and Mandy Patinkin delivered is gone" - that the bite of Hal Prince is gone. Most of what made EVITA great the first time was thanks to his concept of the material (including the characterizations).

Evita
Posted by Bettyboy72 2012-03-26 14:30:58

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Kalimba, the lemmings are the "star obsessed" droves who jump to their feet for Martin just because he is an pop culture icon. He didn't earn that praise IMHO.

Evita
Posted by Kalimba 2012-03-26 14:38:45

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Thanks. I never heard of that, and was trying to make sense of it. I definitely understand your intention though.

Evita
Posted by philly03 2012-03-26 14:41:03

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I also noticed Ricky didn't really get a standing ovation; DeCicco did, however, at least in the mezz. It was a pretty quiet curtain call until Ricky came out then the crowd went nuts.

Evita
Posted by kyl3fong2 2012-03-26 16:01:35

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On the topic of Evita, I can't believe I only now discovered this video of Aaron Tviet singing Buenos Aires on YouTube...

http://www.youtube.com/watch?feature=player_embedded&v=ck8aQCgAXrQ#!

Evita
Posted by orangeskittles 2012-03-26 19:12:51

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Can I be a nerd and say I really like the sound design of the show? The chanting crowds during the rallies, etc. started at just the right level that it actually sounded like the mezzanine had erupted, and not like a recording. I noticed more than a few people around me looking over their shoulders at those scenes.

I liked Ricky Martin. Greatest musical theatre actor ever, no, but those turning their noses up as him being "community theatre" sound just as biased as the fans. I love Mandy on the recording, and I've seen other productions of varying levels of professionalism and quality, but the Che in this production is not the communist revolutionary. Whether you agree with that change or not, holding up that- and Mandy- as the standard for the Che Ricky is supposed to achieve is useless. It's not the same character, and the direction and acting choices reflect that. Blame the production, not him.

The anti-revival lemmings are just as annoying as the fangirls.

Evita
Posted by Bettyboy72 2012-03-26 19:23:04

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Umm, I'm not an anti-revival lemming. I praised the majority of performances. All I said was Ricky sucked and direction lacked. Ricky does not sing well and dropped lyrics. Does that make me an anti-revival lemming?

Evita
Posted by CarlosAlberto 2012-03-26 19:25:59

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I have to agree that some of EVITA's original "bite" was smoothed over for Alan Parker's 1996 film adaptation but in having seen boots of the original Broadway production the characterizations were down right cartoonish.

Evita
Posted by broadwayguy2 2012-03-26 23:04:50

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Betty, to be fair, when I saw the show, Ricky Martin dropped no lyrics and his voice was in fine shape.

Yes, the sound design, over all, was good, but the orchestrations are a bit thin and the sound design, though it tried in places, could not compensate.

The design is lovely, but far too literal.. and the first 15 minutes have a number of great changes and reveals, then nothing but monotony.

Evita
Posted by bwayphreak234 2012-03-26 23:08:32

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Based on the video I have seen of the London production, I really like the literal approach that was taken. I found it to be quite effective. I'm excited to see this production live this summer. I saw the tour a few years ago and LOVED. Evita is one of my favorite movies and shows.

Evita
Posted by broadwayguy2 2012-03-26 23:38:40

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The problem with the literal approach is that you spend the first couple scenes in VERY distinct, very complete realistic settings, then after "Buenos Aires" and "Goodnight and Thank You", you find yourself remaining on this incredibly realistic set that is meant to signify literally EVERY locale for the remainder of the show, so that alone scraps the idea of a realistic setting and breaks with the concept established at the top of the show.

Evita
Posted by bwayphreak234 2012-03-27 00:58:50

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^ See I actually liked how they had the big reveal of the set which stayed the same for the rest of the show. I can see where you are coming from though. I thought that the wall that was used for Requiem Evita, Oh What A Circus, On This Night of a Thousand Stars, and Eva Beware of the City was perfect because, like the main set, it served a variety of locations for those first few scenes. Do they still track a staircase on stage right when Eva and Juan Peron go upstairs before Another Suitcase in Another Hall?

Evita
Posted by broadwayguy2 2012-03-27 01:47:39

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Hmm... perhaps it was staged differently in London. I have not seen any London footage...

The show begins with the newsreel footage of Eva's funeral during "Requiem" and the first part of "Oh, What a Circus.", the screen is at first about 10 feet off the ground, perhaps, but upstage is fog and darkness, with the screen coming back down as the crowd disperses and Eva is revealed at the end of the funeral footage. It's played entirely in-one. Then the projection dissolves to a rendering of the courtyard set and it immediately fades away and flies out to reveal Magaldi in the courtyard for "On This Night of a Thousand Stars" and "Eva, Beware of the City" and then the entire courtyard flies out for "Buenos Aires."

There is no independent stair that moves in, but the two side walls and balconies DO move in a several points. The stage right balcony, with attached staircase, does move in for "Another Suitcase.."

The set, while beautiful, genuinely does NOT work. It is incredibly bad form and bad direction to establish several drastically different, realistic and incredibly specific sets / locations, and then all of a sudden decide to treat it as a unit set after you have established a different design concept. It makes it IMPOSSIBLE to follow the changes in location / time and plot. To make matters worse, there are large stretches of time where two actors are left to play a scene on what is, essentially, a bare stage with nothing to anchor their playing space or allow them to actually DO anything physically that would seem natural and no isolating lighting to even define their space. Any other pieces used to define locale are then used in a MUCH more stylized way.. Eva's luggage used to create the stages for the Rainbow Tour and the falling flags, Evita's bed and casket, the banner to create the stage for the charity concert.. it is a design disconnect. Yes, pretty objects, but without cohesion and purpose.

Evita
Posted by bwayphreak234 2012-03-27 02:22:07

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I just went and looked back at my London video... The screen has the funeral footage during the first part of Requiem Evita, and it goes up to reveal a sobbing woman against a pretty much plain wall with a doorway in the center (where the curtain falls for On This Night....) and a niche with candles in it. This wall is in place until it flies out before Buenos Aires... Is that what it is like for the Broadway production?

Evita
Posted by Bettyboy72 2012-03-27 02:22:27

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broadwayguy2, you raise a good point. It didn't seem like the lighting was well thought out. When they wanted to create a different locale, they never really darkened the rest of the set to create atmosphere. It's kind of a big fail.

Evita
Posted by broadwayguy2 2012-03-27 04:05:23

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Phreak,
No, it does not play out that way at all. The show curtain rises about 10 feet and travels open to reveal the screen as the ensemble, dressed in mourning clothes and clutching candles step forward from the darkness and fog. Che removes a hat and cloak to reveal himself and the footage plays on the screen above them. that is the entirety of "Oh, What a Circus" until the ensemble exits and the screen / scrim fly back down to deck level for the "Eva reveal".
No sobbing woman at a door or niche with candles. As I said, the settings are kept VERY specific until the "Buenos Aires" reveal.

Thank you, Betty. It was driving me beyond bonkers. If you didn't know the libretto / have prior knowledge of the specific plot, you would have zero clue when the locale had changes, when a passage of time had occurred at a point without Che narrating it as such... The lighting for "Don't Cry For Me Argentina" was stunning (a shame it wasn't matched by the performance..), the lit windows were beautiful, but the lighting really served in no way to define time or space, and if you choose a unit setting, your lighting has to pick up the slack to define things. Here, it didn't.

Evita
Posted by themysteriousgrowl 2012-03-27 07:38:59

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I've got no time for details, but I also saw Saturday's matinee and was left pretty baffled by this production. Christina DeCicco sings the role well, but has not created a specifically defined charcter and lacks spark/fire, save for a small handful of moments. Ricky Martin's got all the charm of an orphanage burning down. Yes, he went up on a verse; whoops. It happens. (It happened to Nikki Jones in BoM on Sunday; I felt terrible for her.) The longer-term problem is that he has zero business acting in a show, let alone on Broadway. Max Von Essen did nothing for me. Like Ms. DeCicco, he sings the role well, but the production and especially the direction swallow him up. Michael Cerveris comes out cleanest by being his usual, very solid self, but almost every other aspect of the show feels so community theater that you wonder what he could have brought to a better production.

This past weekend I saw this, BoM, DEATH OF A SALESMAN, TRIBES, and went to SLEEP NO MORE again. EVITA was a glaringly bad spot in an otherwise exceptional weekend of theatergoing. My companion at one point -- half-jokingly -- suggested ROCK OF AGES instead of EVITA. I wish we had.

Evita
Posted by Gypsy9 2012-03-27 08:42:21

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I am seeing EVITA for the first time in a few weeks and feel somewhat depressed by all the extreme negativity that so many posters express toward this production. Can it really be that bad? I will go with an open mind and hope that my introduction to this fabled show will pay off with an appreciation of the somewhat different interpretation that seems to bother so many. Elena Roger won accolades in London. I am looking forward to seeing her. EVITA is the only show that I will be going to on my semi-annual trip to my former place of residence, when I saw countless shows and enjoyed most of them. This Board can be a downer at times.

Evita
Posted by Bettyboy72 2012-03-27 09:26:57

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I take forgranted that people know what's going on in the musical because I know it so well. However the row behind me were a little confused and were asking me questions.

Evita
Posted by Sauja 2012-03-27 09:38:49

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Just saw this last night. I actually avoided the message boards about it until I saw it, but I find that my opinions are fairly in line with most of the posters here, at least with regard to Roger. I was in the rear mezz, so her acting choices might not have registered as clearly back there, so I was left with her vocals. I'm a fan of an unusual voice. I still think I'm the only person who loved Daphne Rubin-Vega in Les Miz. But I found Roger's upper register difficult to listen to. And, like some others, had trouble making out lyrics in parts--really just when others were singing as well. When hers was the only voice, I could get everything. I just walked away thinking that Roger was a great dancer. That's when she really came alive and connected. Which doesn't seem like it makes her the best fit in this role. At least, not to my eye (and ear).

I liked Ricky Martin more than others, though. He doesn't bring a lot of fire to the role, but he sounded crisp and clean last night. He doesn't do much to create a character, but then...he doesn't really have a character to play. Basically, I thought he was a totally affable narrator.

All of that said, I still enjoyed myself. The show's pace is dynamic, the choreography is pretty thrilling, and I thought the design was beautiful (particularly the lighting). So yeah, Roger left me cold, but I wouldn't say it's a bad night at the theater.

Evita
Posted by AngelorPhantom1359 2012-03-27 10:08:38

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This is exactly why the investors of Funny Girl dropped out, they knew people wouldn't accept anyone other than Barbra Streisand in the role. It's the same here, people only want to see Patti LuPone in Hal Prince's production. Now I understand why it took almost 35 years for the show to be revived! Its really depressing to me that this show is being crucified because people won't go in with an open mind. Yes Hal Prince's production was brilliant, but that doesn't mean that the material should never be reinvented. I saw this last week and I thought that it was a good production.

And for everyone saying how they shouldn't have done Evita like this, Patti LuPone said how she was happy that it was a new production and not Hal Prince's because she said that the show needed a new perspective. If they had just revived the original, everyone would have said that it was just a carbon copy and that it wasn't inspired in any way. Give the show a chance!

Evita
Posted by themysteriousgrowl 2012-03-27 10:41:25

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lolwut? Careful with generalizing.

Speaking for myself, I'm not attached to anything. I didn't see the original production and am more inclined to listen to the movie soundtrack than the OBC. My mind was pretty durned open.

What I saw Saturday was a boring, flat show, with moments of life, but not enough to prevent the 130-minute run time from feeling overlong and tedious.

I've got no problem with a re-conceptualizing of the show, though I take serious objection to that term in describing this production. Is it because I didn't see the original production that I'm having a hard time seeing this as anything but a gross overstatement? This production may be scaled back, may be quieter, gentler, but there's no radical re-envisioning of the material here.

I'd have welcomed that, honestly.
At least some risks may have been taken.

It's very possible people are just not caring much for what they're getting here, comparisons to the OBC or not. Okay, so, it doesn't stand up to the original production. I'm in no position to agree or disagree with that. But whether it does or it doesn't, taken on its own merits, it's still a bland production of a decent musical with a lot of potential.

Evita
Posted by DottieD'Luscia 2012-03-27 11:00:15

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I saw the Hal Prince staging of the Evita tour that passed through DC several years ago and didn't like it one bit. I thought it was very sloppy and that Sarah Litzsinger was just not a convincing Eva. I also saw the original production in December 1980 and thought at the time the staging really stood out. It's what has most stood out to me. I remember coming home that night and talking to my mom about the show (and the staging and how cinematic it felt).

I do want to see this revival, but will wait until I have the opportunity to see Christina DeCecco. I heard all I needed to from the London cast recording, that I didn't want to sit through a performance listening to Elena Roger.

Evita
Posted by broadwayguy2 2012-03-27 13:18:10

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I have to agree as well. I did not go in wanting or expecting a LuPone or a Prince staging. In fact, LupOne's rendition of "Don't Cry For Me Argentina" is NOT one of my favorites. Other women has done it better.

Sauja,
I completely agree with every point. I would only be more specific, as I was in previous posts, in saying that the scenic and lighting designs were beautiful, but inappropriate.

Evita
Posted by Bettyboy72 2012-03-27 13:42:56

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I need to join the chorus of "I wasn't looking for Patti". I was looking forward to EVITA with every fiber of my being. I adore the music. Me not liking the revival does not mean I am overly attached to the LuPone version (I never saw that.)

Also, I wasn't crucifying anything. I was just being critical. I also praised most of the performances.

I will say that LuPone's belt is thrilling and some of what made the songs iconic. It's like taking Elphaba's money note out of Defying Gravity. I would have cast Eva with a big belter.

The way the role is being sung now, I don't see the need for an alternate for Eva. In hindsight, after reading Patti's book, it seems like she needed an alternate because she hadn't learned to sing properly.

If Elphaba or Diana don't need an alternate, I don't think Eva does.

Evita
Posted by givesmevoice 2012-03-27 13:58:50

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The way the role is being sung now, I don't see the need for an alternate for Eva. In hindsight, after reading Patti's book, it seems like she needed an alternate because she hadn't learned to sing properly.

Elaine Paige lost her voice early enough in the London run and required an alternate. An alternate was cast for the American premiere to avoid that happening to the Eva here. It had nothing to do with Patti specifically.


If Elphaba or Diana don't need an alternate, I don't think Eva does.

I think both of those roles might have the need for an alternate.

Evita
Posted by themysteriousgrowl 2012-03-27 14:30:22

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Every singer I know agrees that, on a regular 8-shows-a-week schedule, Diana absolutely needs an alternate over an extended period of time. The same would have been true of Caroline, had the show run.

Evita
Posted by AngelorPhantom1359 2012-03-27 16:04:14

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I would like to clarify that people who gave objective reasons as to why they didn't like the show were not who I was referring to. What I was referring to were the people who arbitrarily disliked the show for no reason other than the fact that it didn't have Patti. To the people who have objective reviews, I wasn't talking to you guys. I'm referring to those who couldn't give any constructive criticism about the show.

Evita
Posted by 751guy 2012-03-27 23:49:57

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Like Sauja, I saw the show Monday evening from the sixth row of the mezzanine and I'll be honest, EVITA's one of my favorite pieces, holding lots of special memories, ever since I saw it back in '79 at the Broadway, made a few trips, then saw it many times on tour at the Shubert Boston in the early 80s. I love history, politics, theatre and EVITA has all of it, even if Rice's view of Eva is somewhat heavy-handed and merciless. Nevertheless, I was looking forward to being reacquainted with an old friend last night and I wasn't disappointed. She's a fine old gal with lots of fire still in her. And as much as I loved the original Hal Prince staging, I was looking forward to seeing a new interpretation.

Michael Grandage has created some beautiful staging. Many of the images are luminous and stunning. It's some of the best ensemble work I have ever seen on a Broadway stage. Our first glimpse of Buenos Aires, the determination and speed of its citizens walking past open doors, creates a world we and Eva want to enter. 'Buenos Aires' blew me away. The movement and dance in this piece is breathtaking at times. The military and upper classes are beautifully drawn.

This is the kind of performance that could win Michael Cerveris a Tony. He's polished and professional in every way, but the least manipulative Juan I've ever seen. You feel he truly loves Eva and they're not simply using each other. Elena Roger is not a belter, no, not a powerful singer, but I was drawn to her. She conveyed a tenderness in scenes that's not always apparent in Rice's libretto.

Ricky Martin is the weakest link. Che should always seem capable of commandeering the entire piece. He and Eva should battle for control, but this Che is merely an observer. There's no tension, no dramatic dissonance with Che and Eva... there's never any resolution to their conflict, which represents Eva's battles with the inner demons of her birth and class, because there's no conflict. I'm not sure why Grandage took this approach with Che? Maybe he knew people would simply come to see Martin and not care about Che? He's kind of gutted the piece.

This show will do well with tourists because of Ricky Martin and don't underestimate the well of love people have for this show thanks to Prince's original production. It's unfortunate the Che/Eva conflict has been so thoroughly wiped clean because that's truly where the heart of the show lies, but I'm happy to have the old gal back on the Great White Way where many more can fall for her. Will hopefully be able to return again.

Evita
Posted by kyl3fong2 2012-03-28 00:05:35

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@751guy---Thanks for this well-written review. :)

Evita
Posted by philly03 2012-03-28 01:33:32

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"It's the same here, people only want to see Patti LuPone in Hal Prince's production. Now I understand why it took almost 35 years for the show to be revived!"

I wouldn't necessarily say that - Natalie Toro is probably my favorite Eva having seen a few (aside from LuPone or Paige). She got very good reviews, though the recreate of Hal Prince's production did not for the supposed Broadway revival tour. Toro's singing was unbelievable. A shame she's too old now (and hard to believe that was nearly 13 years ago!).

I think some of the new staging works, but the majority does not compare - I caught myself in the "wait, where are we supposed to be now, seems choppy" slate as well. Something like "Goodnight & Thankyou" works more for me in this version than the revolving Hal Prince door. Of course "Don't Cry For Me Argentina" looks much better with the full set as well.

Evita
Posted by bwayphreak234 2012-03-28 03:03:41

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Of course "Don't Cry For Me Argentina" looks much better with the full set as well.

It is almost as if the set was built to highlight this one key scene. I think the whole set is gorgeous, but it just works wonders for that one song. I also find the use of a bare stage for "You Must Love Me" and "She is a Diamond" to be quite jarring, but effective.

Evita
Posted by ljay889 2012-03-28 08:26:51

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So where are the Elena supporters who kept insisting that her vocals and diction got MUCH better after the cast recording???

Evita
Posted by smallworld 2012-03-28 09:15:42

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Right here!

If you listen to later recordings of her in London she is absolutely phenomenal. Once she settles into it in NY, I'm sure she'll be even more amazing.

Evita
Posted by ljay889 2012-03-28 20:58:04

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Lol, mhmm. We shall see.

Evita
Posted by smallworld 2012-03-28 21:36:15

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Lol. What I find absolutely funny is that you (and others on this board) judged Elena's performance even before the show started in New York. Sure, she doesn't sound her best on the London recording but a lot can (and has) changed from then to later dates. God forbid that someone play the role other than Patti, and god forbid anyone put a different spin on the material. If people would just have an open mind about it, I'm sure they'd love Elena and the production.

Evita
Posted by ljay889 2012-03-28 21:40:36

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I don't want to hear LuPone. I want to UNDERSTAND the lyrics and hear a powerful voice. Doesn't have to be Patti power.

Evita
Posted by smallworld 2012-03-28 21:43:40

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Use your ears, I'm sure you'll hear it

Evita
Posted by ljay889 2012-03-28 21:47:27

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LOL, K. Not many people in this thread have heard it!

Evita
Posted by smallworld 2012-03-28 21:48:16

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And how many of them have seen the show? I understand having an opinion if you have seen it, but if you're jumping to conclusions based off of the mediocre 2006 Cast Recording it's not very justified...

Evita
Posted by ljay889 2012-03-28 21:49:52

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Are you joking? This thread is filled with tons of reviews from people who have seen the show ON Broadway. Do some reading....

Evita
Posted by smallworld 2012-03-28 21:51:56

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Yes, and then there's those who haven't seen it who continuously complain about it, which is super annoying

Evita
Posted by Patti LuPone FANatic 2012-03-28 23:03:00

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I HAVE seen the show (saw the first preview). I would have preferred an Evita with a strong and commanding voice. LOVED Max von Essen! from RC in Austin, Texas

Evita
Posted by SNAFU 2012-03-28 23:58:26

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Without a strong Che, Eva and Che's waltz loses all intesity. Love or hate Mandy and Patti, but their waltz was a waltz to remember. Not a waltz designed to conceal Madonna's baby bump either.

Evita
Posted by bwayphreak234 2012-03-29 00:07:46

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I still can't believe that Elena Roger has been so unpopular on here... I have said it before and I will say it again, I find her to be absolutely incredible, and I find her voice to be unique and great. I LOVE the London cast recording and the video I saw of Elena on London closing night blew me away. To each their own I guess

Evita
Posted by TotallyEffed 2012-03-29 00:36:09

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I mentioned I saw Evita to an acquaintance and he immediately asked, "does she belt?"

That isn't what it's about. Evita is a not a belt concert. Say what you want about Ricky Martin, but Elena Roger is giving an incredible performance at the Marquis. She is nuanced, gorgeous, powerful, and acting her face off.

Does she "belt"? Not always, no. Is her voice unique and effective? Absolutely.

I was stunned at her performance. In "And the Money Kept Rolling In", she doesn't have a single lyric but she was all I could look at. As she stepped from mark to mark on the stage, she would stand still for a few moments and stare out with a slight smile on her face. Gripping, chilling, a hint of evil ambition...and I still loved her Eva. I cared about her Eva.

She's an amazing dancer, she looks age appropriate in all scenes (she is TINY), and she's very clear. I understand some people might have an issue hearing some of her lyrics, but her acting is truly what makes her performance so remarkable.

Of course her talent/performance is subjective, but I fear many people will write her off for the wrong reasons. She's DIFFERENT and people don't like that, even in the theatre. Evita is a remarkable piece of theatre...I'm saddened people are so hung up on "fierce belting" instead of substance.

Evita
Posted by broadwayguy2 2012-03-29 01:06:45

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Fine. Remove the belting.
I am still left with a leading lady who is a fantastic dancer - in a singer's show, with an accent that made it difficult to understand most of her lyrics and left the strangers near me absolutely confused about what she was saying, as they did not know the show, and who's voice, yes, is "different", but nevertheless with thin, grating, pinched and sharp and struggled to reach the notes in the score and who is REALLY unpleasant to listen to when she isn't singing at a moderate volume in her midrange.
I'd love her in a dance piece based on Eva's life, but I have no need or desire to listen to her sing that score again.
NO, I don't want to listen to Patti sing it either. Is it so much to ask for an Eva with a full voice that can sit well on the music and hit the notes without being pained and strained or, on the other end, bombastic?

Evita
Posted by inlovewithjerryherman 2012-03-29 01:19:25

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After the raves she got in London, I find the reaction everyone's having to Roger very interesting. Clearly, she is giving a performance that is worth talking about, at the very least. The divided opinions have only made me more intrigued to see her performance.

The head voice thing is interesting - she does at least belt/mix her way through the recording - perhaps she is ill and is saving her steam for Brantley, who missed her in London when he went to review it.

And on a completely unrelated note, if the revival does well enough to outlast Roger's run in it, I'd love to see Nicole Scherzinger step into the part next.

Evita
Posted by TotallyEffed 2012-03-29 01:23:41

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She does belt and mix. People are mistaking her mix as head. Her voice is quite forward and resonant, which is where the "pinched" complaints are coming from, I think. She certainly sings it a hell of a lot better than Madonna...Elena's singing voice actually captures the essence of Eva Peron's actual speaking voice, in my opinion.

I will certainly agree that it is "thinner" than Patti LuPone's belt/mix...but then again most voices are!

Evita
Posted by Beavers 2012-03-29 01:29:30

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L U V MADONNA. the new album is siqq, fyi.

Evita
Posted by bwayphreak234 2012-03-29 01:32:03

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Elena's singing voice actually captures the essence of Eva Peron's actual speaking voice, in my opinion.

I completely agree.

Evita
Posted by broadwayguy2 2012-03-29 04:24:11

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It's fine and dandy if Roger's singing sounds like Peron's singing, but that does not make it at all pleasant to listen to or appropriate for the written show... and it sounds thin on its own, comparisons to LuPone aside.

Evita
Posted by CarlosAlberto 2012-03-29 06:13:22

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@ Beavers: FYI. Yes it is siqq. It made me want to hurl.

Evita
Posted by CarlosAlberto 2012-03-29 06:18:45

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Now all of Rogers detractors feel obligated to add statements such as "...all comparisons to LuPone aside" and "NO I don't want to listen to Patti sing it either..."

F.Y.I. ~ I saw it last week. Not posting my review though as I'm really not interested in "getting into it".

This thread is hilarious.

Evita
Posted by best12bars 2012-03-29 09:17:47

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So you don't want to post your own review after seeing the show, but you criticize and laugh at other people's opinions?

I don't get it. Is this the "dish it out but can't take it" approach?

Evita
Posted by broadwayguy2 2012-03-29 12:53:22

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Well perhaps those things are being said because there is a small faction here who seem to be of the mind that the ONLY way someone could find fault in Roger is if they wanted LuPone, as if we have the inability to judge Roger on her own merits.

Evita
Posted by Bettyboy72 2012-03-29 13:12:16

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"In "And the Money Kept Rolling In", she doesn't have a single lyric but she was all I could look at. As she stepped from mark to mark on the stage, she would stand still for a few moments and stare out with a slight smile on her face."

People in the rear mezz won't see that. Those fortunate enough to pay $250 for close orchestra seats will get the nuances. What a great way to demonstrate the class issues happening on stage.

Evita
Posted by Rainbowhigh23 2012-03-29 13:16:51

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I look forward to seeing Elena again as I do enjoy her style, but but I do agree and am surprised that her voice often sounds thin in this production. I saw the show first week of previews and remembered how her voice sounded in albeit a completely different work, "Mina Che Cosa Sei?" - incredibly strong. Here's an example from 2010 - a style I was totally expecting for parts of Buenos Aires and Rainbow High. But then again, completely different work.

Evita
Posted by CarlosAlberto 2012-03-29 18:06:40

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Well besty I will say this much, as much as I love Ricky he didn't do it for me in this. Elena was fine but she didn't "WOW" me and I wanted to be "WOWED". The choreography was amazing though. Rob Ashford did an excellent job with it. BUENOS AIRES was thrilling and exciting to watch. Such a winning number.

I think Michael Cerveris came off best. I hope he gets a Tony nomination for this.

Evita
Posted by CarlosAlberto 2012-03-29 18:07:53

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...oh, and I wasn't expecting Patti LuPone!!!

Evita
Posted by TalkinLoud 2012-03-30 10:02:27

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I saw this yesterday for the first time. My only prior experience with Evita was the Patti LuPone cast recording.

I enjoyed myself quite a bit. The music is achingly beautiful, maybe ALW's most complete and achingly beautiful score. Even a lot of the music that I didn't really care for on the CD, I loved it so much more in context. Ricky Martin is OK. He seemed to not really know what to do while he was singing.

But Elena Roger is incredible. I was floored by her performance. Great actress, magnetic and a hell of a singer. Her accent didn't bother me at all. I don't understand the criticisms of her voice at all. She does have a strong voice. She doesn't belt the role, she sings it. I loved it and would go back again just to see her.

Evita
Posted by Dubliner 2012-03-30 14:30:50

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I haven't seen her in Evita but having seen Elena Roger in both Piaf and Passion it strikes me that she is first and foremost an actress who is much more interested in serving the production and giving a nuanced interpretation of her character than in giving a star turn. Her voice in Piaf was incredibly powerful and sounded just like the real Edith Piaf. In Passion it was barely a whisper as befits such an ill and fragile character. Both performances were stunning

Evita
Posted by random person 112 2012-03-30 16:04:10

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I too don't get the accent crack i mean hers is no worse than Sofia Vergaras.

Evita
Posted by CarlosAlberto 2012-03-30 17:37:39

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I will be going back to see this. Hopefully it will have improved by then.

I will definitely agree with TalkinLoud that ALW's score is one of his most beautiful scores. Definitely up there in my top 5 faves.

Evita
Posted by Deena Jones 2012-04-01 14:38:29

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I saw it Thursday and was blown away by Elena Roger! Growing up listening to LuPone I was expecting the worst but Elena proved me wrong! I understood everything she said. I was terribly disappointed with Ricky. he just didn't have enough edge to him. No power to his voice. No anger... and Che was weak....

The show itself is stunning, very well directed ricky aside.

Evita
Posted by The Scorpion 2012-04-02 08:12:19

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It's funny, because the reactions I'm reading on this thread are EXACTLY the reactions I thought would happen if the show transferred to Broadway, which it has done now. Back when it was playing in London, based on the comments I was reading from American posters on theatre boards, I noticed the following:

- It tended to be people from the US rather than the UK who had a problem with Elena's accent. No-one I knew who was not American found her unintelligible. I later saw her in Piaf and Passion and understood her just fine. Whether this is because US audiences are less 'exposed' to other accents in the world, I have no idea, but there might be something in that (given how virtually everything is remade for American audiences, especially in the cinema).

- Incessant comparisons with LuPone coming from the American audience, but for some reason the Paige followers from Britain didn't have a problem. LuPone and her interpretation seems to be sacrosanct for American audiences in a way that Paige's turn in the role isn't for us in Britain. I wonder if that's because we knew Evita starting from Julie Covington, whereas Americans weren't really familiar with the concept album. It might have something to do with Paige endorsing Elena Roger and the production and saying that she loved it... I'm pretty certain pigs will fly before LuPone attends this revival, though it'd be really, REALLY interesting if she does, not least because of her post-Sunset anti-ALW stance.

It seems none of this has changed in the intervening 6 years. I'm guessing that perhaps the theatre nuts of the US see 'Evita' as a 'diva' role with a harsh, aggressive Eva as played by LuPone. Paige was nowhere near as aggressive as LuPone (Hal made her far more bitchy for US audiences, as there was greater risk of the charge of 'OMG you're glorifying fascism' coming from the US critics than from London's, with the added risk that the Jewish community wouldn't respond well to a show about a dictator who allegedly helped to harbour the Nazis), and that may be why Roger's performance was much better received by audiences in London. She's the polar opposite of LuPone in that she's chosen to play her sympathetically, and it's an interpretation that, though at odds with the sometimes scathing lyrics, is probably more in tune with how Eva is viewed and depicted in today's Argentina (I really can't see how LuPone's Evita would fit the current Argentine view of Eva from what I perceived when I was living in Buenos Aires, even by those who didn't like Evita). Also Paige and Roger were/are both good dancers; there was a lot less dancing when LuPone did the role and the show was frozen. Whatever Elena lacks in vocal power, she more than compensates for with her dancing.

I thought Elena Roger was electric every time I saw her at the Adelphi in London. I can't wait to see her at the Marquis next month. And I personally loved the revival, and I'm a Hal Prince fanboy. There were things I thought weren't as good as in Hal's production (particularly the staging of Dangerous Jade), but there were also things that I thought were better (Buenos Aires in the revival is amazing IMHO).

Re the sets, I find it odd people are complaining about them not changing much, considering the original was a black box production with no real sense of locale either. If anything, the revival gives a much more obvious impression as to where you are during a particular scene.

Incidentally, for anyone who thought we were badly cheated in London by only getting a highlights recording, there's a Facebook page to register support for a complete recording of the Broadway production. Supposedly the powers-that-be are listening, so might be worth joining. Search for 'Evita Broadway Cast Recording' or something like that on Facebook.

Evita
Posted by philitalia 2012-04-02 08:23:13

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We saw the show Friday and loved it (maybe a little too polished ?).
I'm not from the US and sometimes (when Elena has to "talk" loudly and quickly she can be a little difficult to understand (and we were in really good seats).

She got a great applause at the end, but I think a big part of the audience came to see Rickyyyyyyy.

Last Friday it was fast-paced and we thought the whole cast and the orchestra sounded wonderful.

Evita
Posted by Bettyboy72 2012-04-02 09:59:48

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"I'm pretty certain pigs will fly before LuPone attends this revival, though it'd be really, REALLY interesting if she does, not least because of her post-Sunset anti-ALW stance."

Patti is friendly with Elena and they have conversed. Patti will be at the opening with Mandy. For all the chastising you have done about US audiences and their assumptions, you sure made plenty yourself, including some about Patti.

Why can't people accept that we have plenty to dislike about this revival without making it about Elena's accent or the sanctity of Patti LuPone. Most of us haven't been talking about that.

Evita
Posted by Rainbowhigh23 2012-04-02 10:54:06

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^Patti and Mandy will be attending on Thursday? Oh what I'd give to see that.

Evita
Posted by seventypercentcocoa 2012-04-02 11:50:32

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I know I'll likely get blasted with "but it's a MUSICAL" or "this is about the the singing" comments, but I think it's worth mentioning that, at least to me, this is the best acted EVITA I've ever seen. Patti/Mandy's Evita WAS powerful, but largely because of the shock value of Patti's pipes and precision of the production at large.

This is a terrifically acted show. (Yes, Ricky is Ricky.)
I was particularly struck by the chemistry between Eva and Peron. Elena and Cerveris are a believable pair, and their sexuality, emotional life, communication with glances, etc. all register as authentic. (And yes, I could see the from the back of the orchestra...they're playing it broad enough.)

Their first meeting isn't an overplayed farce, but a moment of natural attraction that read as something real. When Peron steps aside to let Eva take the balcony for "Don't Cry for Me Argentina" he looks genuinely proud, not cartoonishly calculating (as in some prodctions I've seen). And the tenderness Peron shows her during "You Must Love Me" was a genuinely touching moment in a show that is rarely soft and sweet at all.

I loved that about this production. If you look at the black and white pictures of the real Juan and Eva, or have ever seen a doc about the pair, it's obvious that--despite some of the horrible things they did to their opponents in Argentina--they genuinely cared for one another, and he was proud of her.

Props to both Elena and Michael for making that happen in a show with very little to work with in that regard. Double props to Cerveris, who takes a woefully underwritten, generally forgettable (who talks about Bob Gunton, really?) role and turning it into a dynamic, multifaceted character. He takes a part that is about 80% pantomime and turns it into a substantial part that bolsters his Evita's effect. (And, for the "but it's a musical!" commentors, he and Von Essen have the best voices onstage.)

And Elena may not sound like Patti, but she's acting the Hell out of Eva. She SOUNDS like Eva. If you listen to the recordings of the real Eva addressing the masses outside this Casa Rosata there's no denying the uncanny resemblence. I prefer her take on Eva to the standard bitchy-belty Evitas available for your viewing pleasure at every community theater across the country.

Evita
Posted by PalJoey 2012-04-02 11:51:21

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I'm as big a LuPone fan as (almost) anyone, but I'm looking forward to seeing it Friday. I've heard the Covington and the Paige (long ago), I've memorized the LuPone (long ago too), I've tried to forget the Madonna and I've watched clips of Elena.

I think there is more than one way to play the role and to stage the musical.

That said, the experience of sitting in a theater seat and seeing and hearing Patti LuPone deliver the line "He supports you for he loves you, understands you, is one of you" is on my very short list of electrifying moments in the theater. Patti's voice, Prince's staging, costuming and portraying of Mandy's Che as Che Guevara--all those things contributed to a energy that theatrical productions only rarely achieve. I don't think this is about British vs. Americans.

From the clips and all reports, I imagine I will admire Elena's performance greatly. But I'm not going expecting it to be that kind of peak experience.

I'm much more concerned about being disappointed by Ricky. I will be ineffably sad if he is as underwhelming as other posters have said.

Evita
Posted by PalJoey 2012-04-02 12:19:47

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And in this interview, Elena says she met Patti at at party and that Patti was "lovely."

Evita
Posted by The Scorpion 2012-04-02 14:41:25

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Patti is friendly with Elena and they have conversed. Patti will be at the opening with Mandy. For all the chastising you have done about US audiences and their assumptions, you sure made plenty yourself, including some about Patti.

Oh, I know she's friendly with Elena. When I wrote to Patti 6 years ago when the revival was playing in London, I asked her whether she had seen Elena in the role since I know they had both met at the special performance of Les Mis when it overtook Cats' record in the West End to become London's longest-running musical. She replied that she found Elena charming and said she hadn't been to see Elena in the role. She also added that she generally did not like to see revivals of shows in which she had starred, so I naturally assumed -- especially after her continual anti-ALW comments since Sunset -- that she would stay WELL clear of the Marquis Theatre. I don't think those were unfair assumptions to make. If she's attending, then I can't wait to see if/how she manages to avoid Lloyd Webber -- that is, if he bothers showing up (he never seemed to care much about Evita, sadly).

As for my assumptions re US audiences, I didn't mean to offend, and I'm sorry if I did, but my aim was rather to speculate on why the general audience (if this board can at all be taken as a representative sample, and it may well not do) is FAR more polarised regarding Elena's performance than London ever was. In London she earnt raves from the critics and more raves from the audience (admittedly not all of them shared the critics' views, but the vast majority did). And I don't think I'm wrong in saying that there is a sort of LuPone worship on Broadway that doesn't have an equivalent with Paige in London. If all other things (including Elena's performance) are equal, one must conclude the different reception must be down to what the audience likes and expects.

Why can't people accept that we have plenty to dislike about this revival without making it about Elena's accent or the sanctity of Patti LuPone. Most of us haven't been talking about that.

Really? I thought most people had. The only other frequent criticism which I see recurring again and again is that some don't like the literal, naturalistic approach that Grandage and Oram have taken, but which I personally think is as valid as Hal's abstract black box idea. Interested to hear what else people like and don't like.

Evita
Posted by themysteriousgrowl 2012-04-02 14:54:20

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"Why can't people accept that we have plenty to dislike about this revival without making it about Elena's accent or the sanctity of Patti LuPone. Most of us haven't been talking about that."

Yes, it's primarily been the people who have enjoyed the production introducing and especially harping on the comparison, as if they haven't read the myriad other criticisms in this thread that have nothing to do with Patti LuPone. I don't understand how anyone who's actually read this thread could come away thinking that this production's detractors have made it about that at all. It's a very Fox News approach.

"If we keep on saying taxes have gone up under President Obama, it will eventually be a given, despite every single verifiable fact pointing to the contrary."

"If we keep saying the people who don't like this revival of EVITA don't like it because it's not the original production, eventually it will seem true."

It's kind of astonishing.

In fact, I'm not sure that I've seen *anyone* -- in this thread or elsewhere -- make that comparison their primary complaint. Where did this idea originate?

Evita
Posted by givesmevoice 2012-04-02 15:08:00

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Oh, I know she's friendly with Elena. When I wrote to Patti 6 years ago when the revival was playing in London, I asked her whether she had seen Elena in the role since I know they had both met at the special performance of Les Mis when it overtook Cats' record in the West End to become London's longest-running musical. She replied that she found Elena charming and said she hadn't been to see Elena in the role. She also added that she generally did not like to see revivals of shows in which she had starred, so I naturally assumed -- especially after her continual anti-ALW comments since Sunset -- that she would stay WELL clear of the Marquis Theatre. I don't think those were unfair assumptions to make. If she's attending, then I can't wait to see if/how she manages to avoid Lloyd Webber -- that is, if he bothers showing up (he never seemed to care much about Evita, sadly).

She said during the Ask a Star (I believe) she did with Mandy Patinkin that she's very interested in seeing the production and seemed to be planning to go. I think they're both interested in how different it is from the Hal Prince production. I wouldn't be shocked if one or both of them was at opening night, because I can't imagine producers wouldn't want to invite them.

Evita
Posted by PalJoey 2012-04-02 15:12:47

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there is a sort of LuPone worship on Broadway that doesn't have an equivalent with Paige in London

That's because Elaine Paige is not Patti LuPone.

Evita
Posted by CarlosAlberto 2012-04-02 16:36:56

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Double props to Cerveris, who takes a woefully underwritten, generally forgettable (who talks about Bob Gunton, really?) role and turning it into a dynamic, multifaceted character. He takes a part that is about 80% pantomime and turns it into a substantial part that bolsters his Evita's effect.

I felt the same EXACT way about Cerveris in the role. He was great...and what a voice!!! He totally blew me away.

I'm going to go see it again after it opens and see if I feel differently about Elena and Ricky.

Evita
Posted by random person 112 2012-04-02 17:06:59

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Mysterious, it's sad but true most people have complained that she is not a belter, or saying how a belter should be playing Evita, or how her accent is too thick, or things to that effect. By the way on another hand i have listened to the lupone recording of don't cry for me argentina hundreds of times, she has never acted it as perfectly as Elena does.

Evita
Posted by indytallguy 2012-04-02 17:10:17

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I didn't see Cerveris in The Who's Tommy, but his voice and presence in each of his Sondheim roles have really impressed me, particularly in the Kennedy Center production of Passion. There is a clarity to his diction and a vocal control that really commands your attention whether he is belting or singing more softly.

Evita
Posted by themysteriousgrowl 2012-04-02 17:33:12

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"Mysterious, it's sad but true most people have complained that she is not a belter, or saying how a belter should be playing Evita, or how her accent is too thick, or things to that effect."

Well, hey, that's cool, but who was talking about that?

I'm talking about these supposedly rampant comparisons to LuPone and how this production is no good because Roger isn't LuPone and the judgments made on that bias, with no further supporting opinions. Read this thread, and you'll see that a very, very small -- practically insignificant -- fraction of real criticism has even mentioned this.

Evita
Posted by AwesomeDanny 2012-04-02 17:58:58

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I have not seen this production, but I think the complaints about Elena's singing are completely valid. The score was written to be almost completely belted, and so much of the score loses its power when not belted, as the movie showed us. Seeing a production of Evita on Broadway, I think an audience can reasonably respect an actress who can sing the role as written. Yes, I know that it is unbelievably difficult and taxing, but this is Broadway--probably the most prestigious place to perform a musical. One would think that the producers could find an actress somewhere in the world who can handle the score as written. Christina DeCicco is apparently singing the score as written, and people seem to be loving her. Even if Elena Roger is an amazing dancer and actress, that's only two-thirds of it, and there are definitely actresses who could handle all three parts (and, really, the singing is much more important than the dancing for this role). I don't think that Elena Roger is really selling any tickets, is she? An unknown actress could have been hired, and her career would have been made. I understand that not every Eva has to be Patti (and I've loved Eva's who sounded completely different), but every Eva, especially on Broadway, must be able to do justice to the score.

Then again, not having seen the show and only judging from the London recording, my opinion might be completely different now. I'm just hypothesizing as someone who worships Patti LuPone's performance, but I understand that nobody can be Patti as Evita. There are still expectations that must be met, especially when performing a multi-million dollar Broadway musical.

Evita
Posted by themysteriousgrowl 2012-04-02 18:04:55

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I saw DeCicco, and while she sang the score as written (what was changed for Roger, anyway?) she did not belt. Between Martin's weak acting and no powerhouse vocals from the protagonist, there was a huge dramatic void at the production's center, which could not be filled by Michael Cerveris, no matter how good he is. I left wondering about the piece's viability *without* a belter in the role of Eva. Perhaps a more naturalistic interpretation would work if you had an exceptionally strong and present Che. But with tension lacking in the two most important roles, it was really hard to figure out where the trouble lay.

Evita
Posted by AwesomeDanny 2012-04-02 18:21:45

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I meant that Elena Roger didn't sing the score as written by not belting the whole thing, not that anything was changed. About a year ago, I saw a very talented young actress play Eva (in a college production, although she did not go to that college, and she has professional credits) and belt the entire score, and it was thrilling. My point is that there are definitely actresses who can belt the entire score and act very well, so with Ricky Martin filling the house, they don't need a star to play Eva.

Evita
Posted by Reginald Tresilian 2012-04-02 18:28:29

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Roger sings the score as written. Belting really doesn't have anything to do with the way a score is written. It's a method of voice production, not an aspect of music theory.

Also, I don't think you can say that Julie Covington--the first person to sing the score--"belted the whole thing." I would say Covington and Roger have a similar approach to the score in that respect (though their voices are, of course, very different).

Evita
Posted by themysteriousgrowl 2012-04-02 18:35:34

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"Roger sings the score as written. Belting really doesn't have anything to do with the way a score is written. It's a method of voice production, not an aspect of music theory."

Thanks, Reg. That's what I was getting at, but as a non-singer/musician, I wasn't entirely sure if I was correct.

Evita
Posted by givesmevoice 2012-04-02 18:53:08

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I always thought that comparisons between Covington, Paige and Roger were more natural than comparisons between any of those women and LuPone. I always thought of it as a London/West End sensibility, but I thought the latter three had a more "pop" like sound than the full-bodied belt LuPone had. Admittedly I find it very difficult to get through the Concept album and both London cast albums because of tempo issues, but that's what I've observed listening to those four women.

Evita
Posted by Bettyboy72 2012-04-02 19:11:37

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I feel like I'm missing something. I've always viewed Eva Peron as a "large" character-a woman who commands attention, chews scenery and, explodes with drive and passion.

The choices for Eva in the revival feel "small." Everyone is talking about the nuances of Elena. Is Eva Peron a nuanced creation? I never thought so.

Maybe I'm wrong but when Juan Peron struck me as the standout in the revival, I felt something was terribly wrong.

Che and Eva are lost in the sauce.

Evita
Posted by Reginald Tresilian 2012-04-02 19:25:13

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I found LuPone to be incredibly nuanced. (Though that's certainly not always the case in her various performances of "Don't Cry for Me" over the years.)

Evita
Posted by broadwayguy2 2012-04-02 19:32:52

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It's not a matter of belting it to the heavens. It is a matter of power. it is a matter of not sounding thin and strained. It is a matter of understanding... people that don't know the show legitimately can't understand what Eva is saying..

Evita
Posted by AwesomeDanny 2012-04-02 20:04:48

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Perhaps "as written" was not the correct phrase... "as intended?" Admittedly, I'm not all that familiar with the concept album, but Julie Covington does belt the "he supports you..." phrase, although not as pleasantly as I think LuPone does. Eva should have a big voice and have, as someone else just said, lots of power. There are many sections of the score that I don't care if they are belted (basically all of the second half of the second act), but if Eva's voice doesn't fill the theatre with a powerful sound, something is lost. So much of the show rests on Eva being a larger-than-life image that her singing must be big in order to be effective.

Evita
Posted by Reginald Tresilian 2012-04-02 20:09:08

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Roger belts those lines as well; at least she did a couple of nights ago.

You're entitled prefer any performer in the role, of course. I'm just saying that the original interpreter, the creators' first Eva, didn't belt her way through the score.

Evita
Posted by AwesomeDanny 2012-04-02 21:50:01

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Then what exactly are people complaining about when they're saying that Elena Roger isn't belting in A New Argentina? I'm so confused. I'm listening to parts of the Julie Covington recording, and she's belting it (I've listened to A New Argentina and Rainbow High), what exactly doesn't she belt in the recording? It's definitely not as big of a sound as it should be, but she's belting it or at the very least using a very belty mix.

Evita
Posted by The Scorpion 2012-04-02 22:32:57

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I feel like I'm missing something. I've always viewed Eva Peron as a "large" character-a woman who commands attention, chews scenery and, explodes with drive and passion.

The choices for Eva in the revival feel "small." Everyone is talking about the nuances of Elena. Is Eva Peron a nuanced creation? I never thought so.

This is precisely what I was trying to get at when I said that Americans seem to like their Evas aggressive and 'diva'-like; something I feel comes off much more from LuPone than Paige or Covington.

I haven't seen the revival on Broadway yet, but in London Elena's Eva definitely did "explode with drive and passion". Her transformation in Buenos Aires was incredible, like she had been lit up from within, and the audience totally bought her when she delivered the line that she was going to give the city a touch of star quality.

That said, I remember when Evita was previewing in London, similar things were said about Elena which completely changed after the official press night. Maybe she's saving herself up for opening night in case she or her voice burns out too early?

I'm keen to see how they've altered the opening, since it sounds different from how it was in London. The one scene I thought did need improving in London was 'Perón's Latest Flame'; the staging was rather dull. Does anyone know if this has been altered in any way?

Incidentally, I don't think Paige actually belted those high Es in 'A New Argentina'. That bit was in general much more thrilling on Broadway, with LuPone's belt and the score at a much faster tempo (it was sometimes painfully slow in the original London production). Apparently Lloyd Webber, according to LuPone, kept trying to slow down the tempo whenever he visited the Broadway production.

Evita
Posted by beautywickedlover 2012-04-02 23:33:36

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"I don't think that Elena Roger is really selling any tickets, is she? An unknown actress could have been hired, and her career would have been made."

Martin seems to be the box office draw for this musical.

Evita
Posted by Michael Bennett 2012-04-03 09:14:19

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Listening to the live recordings that exist of Elaine Paige she definitely mixed on her high notes but still sounds like she was pretty exciting over all in the role.

I think the point of the tempos is an interesting one, its definitely a lot easier to 'belt' the high Es in the score when the tempo is as fast as it was in the original Broadway production. I think truth be told LuPone mixed those notes too, she just had enough power in her upper register to make it seem exciting.

Evita
Posted by Harpz2006 2012-04-03 16:54:08

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I saw the Saturday matinee last weekend. It was my first time seeing a production of Evita, though of course I was familiar with several of the songs. I was sitting next to two older ladies who kept saying, "This woman Elena Roger is supposed to be ASTOUNDING... she's getting raves! I'm so glad we're seeing her." I just had to jump in and say we were actually seeing her alternate (haha should I have just let them be happy?). They were really upset and said no one had told them, and added now they'd flushed hundreds of dollars down the toilet. They read her bio and started mocking her, saying she's done nothing of note and would probably be awful. It was soo rude and I'd never met such crabby old ladies! At intermission they confirmed they were having a terrible time... but how could they not with that attitude?

Overall, I thought Ricky had some charm but his performance was lackluster- I just bought the original cast recording and the songs sound so different to me hearing them with the intensity Mandy Patinkin brought. Christina DeCicco was lovely and had a beautiful voice, but it sounded kind of small and contained- I read she played Glinda, and I definitely kept thinking as she sang that it sounded like a Glinda voice. Maybe it was the sound system, but her voice didn't really seem loud/intense, though she definitely sang beautifully. Michael Cerveris was wonderful and very believable as Peron, ad Max Von Essen was great as Magaldi. Strangely enough, though, I felt like Rachel Potter as the Mistress stole the show. When she sang her song, it was like a breath of fresh air and the whole audience was enchanted. Her number got the biggest applause and she also got a huge response at curtain call (I'd say bigger than DeCicco). I actually agree that her song was my favorite part of the show, but it seems strange for her to have such an impact in the show- is that typical for the Mistress role? When she sang, she started out very vulnerable and sweet, and was really letting it rip by the end of the song.


I also thought the ensemble was amazing and the dancing was stunning. The show overall didn't really *move* me, which is what I always yearn for... but a strong production.

Evita
Posted by Michael Bennett 2012-04-03 16:57:12

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Does Christina do the same dancing that Elena does? I surmised that DeCicco would likely have a prettier voice than Roger but not necessarily a more powerful voice (they don't seem to be casting belters in the role in this revival either here or in London).

Evita
Posted by dramamama611 2012-04-03 18:47:35

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I saw this at Saturday's matinee. I was not impressed, with anything but some of the stunning lighting. I was most definitely looking forward to finally (and for the first time) getting to see the show.

The whole thing just left me cold.

Evita
Posted by StageManager2 2012-04-03 19:06:00

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"I actually agree that her song was my favorite part of the show, but it seems strange for her to have such an impact in the show- is that typical for the Mistress role?"

Every tour or community theater production I've seen, the Mistress always gets a big(ger) applause. I surmise it has to do with 1)the song is lovely, but also 2)they always tend to cast a lackluster Eva. Without a powerful, engaging, sympathetic Eva, the show suffers. Meanwhile, the Mistress comes out smelling like a rose 'cause her song is a highlight in the show, but when everything else is unimpressive she sticks out like a sore thumb. I've yet to see an Eva who blows me away, and who does the role/show justice.

Evita
Posted by egghumor 2012-04-04 09:21:51

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When I saw this new publicity photo for STREETCAR I thought, this looks like the alternate cast for EVITA.

Evita
Posted by evic 2012-04-04 11:17:02

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Huge disappointment-nothing matches the brilliant staging of the original like the rocking chairs in Art, revolving door in Goodnight or the excitement of Rainnbow High, the genius staging of Latest Flame and on and on.
Ricky fades into the scenery - has has not created any character. His voice was ok but I thought his role needed more balls and machismo. Elena never convinced me that millions of people would idolize her-she lacked power and charisma and the fire and brimstone and the sex appeal that the role requires. and yes she is a good dancer. 20 local woman could have done the role better. She is lifted in a lot of numbers-like Zizi Jeanmaire. Cerveris and Von Essen are very good.

Sets and lighting are beautiful. Dancing is ok-lots of people running in circles and Ashford's favorite steps- legs kicked high to expose the girls coonies and the boys crotches. Some ok tango thrown in. Didn't care for the new orchestrations. I thought that the first 15 minutes were deadly.

The Waltz makes no sense at all because there was no conflict between Eva and Everyman prior to it.

The lack of separate bedrooms in the second act to depict their marriage disintegrating is also missed as a visual. And the ghost of Eva at the end was ludicrous.

Lots of Latino tourists in the house and it got a standing O.

Very curious about the reviews. I think they will be kind but I was underwhelmed. Not fair to compare but the original is iconic and this just lays there.

Evita
Posted by Bettyboy72 2012-04-04 11:26:31

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I agree that the first 15 minutes were a snooze. I was worried right out of the gate.