Was Elena Rodgers (aka Roger) better in London?- Page 2

[FritzW]

Posted: 5/1/12 at 12:08pm

I saw her about six months into the West End run and sad to say, her performance was energetic but ultimately dreadful. Her voice was alternately screechy and threadbare and I suspected she was ill but 'went on' anyway. The praise she received in London was mostly from critics and commentators and not too much from theatergoers; indeed despite how I felt about her performance I give her a lot of credit for taking on such a difficult role on both Broadway and the West End that is not written in her mother tongue and comes with so many expectations from a vocal fan base.

That being said I recall seeing Stephanie Lawrence (said to be Hal Prince's favorite in the role)in 1982 at the Prince Edward; I was disappointed then as well; there was very little belting and she sang and acted the role in a 'Betty Boop' style; yet in Starlight Express, the short lived Marilyn, and in Blood Brothers she belted to the rafters.....

[Patash]

Posted: 5/1/12 at 1:38pm

I saw her very early in the London run and thought her voice was nice, pleasant, and right on pitch, but not much of a "powerhouse". So I've been surprised by the comments about her vocal quality and not even being able to hit the high notes.
My only complaint was that she was the only one with a very thick accent. The others were either British, or American sounding. I was thrown by the idea that Eva Peron is supposed to be the "woman of the people" -- one whom all the locals can identify with -- yet she sounded so foreign to all of them.

[wiggum2]

Posted: 5/1/12 at 1:54pm

Isaw the show this weekend and I have to admit I was quite disappointed with ELena as well. I kept thinking if she was better in London as well. I had listened to the London CD and kept hoping she was better live. I love this show and I was disappointed as well sadly/ I liked Ricky though

[Leadingplayer]

Posted: 5/1/12 at 8:53pm

not even nominated!!! Wow such a complete failure for Ms. Rodgers. (and I've deciced her name doesn't deserve to be spelled right----and plus I enjoy how it ticks people off!!!)

[Kalimba]

Posted: 5/1/12 at 8:56pm

I'm kind of happy Her Shrillness wasn't nominated.

[SNAFU]

Posted: 5/2/12 at 12:26am

Saw the show tonight. What a snoozefest! Ricky Martin can sing but he seemed to just walk through the role Elena Rogers seemed more then a little off in a couple spots. This has been the first show in a very long time where there was no standing ovation at the end!

[Rainbowhigh23]

Posted: 5/2/12 at 10:20am

So no standing O for hitting the high notes with "Star! Quah-la-teeeeeeeeeee"?

I've always wanted to cheer like the descamisados when she throws her arms up during "Don't Cry Me Argentina" but I do remember it's theater, you don't do that.

[Kalimba]

Posted: 5/2/12 at 10:22am

My heavens, no standing O?!!! Guess the tacky fan girls weren't in attendance.

[SNAFU]

Posted: 5/2/12 at 11:36am

The Mistress got a bigger applause then Elena did actually.

[castlestreet]

Posted: 5/2/12 at 11:58am

I saw the show a week before it opened on Broadway- I thought the show was wonderful. I thought she was wonderful in it. I believe that this is simply one of those roles that people have the rose colored glasses on and will never get over what they "imagine" and "remember" the original to have been like. She is never going to live up to Patti and this production is never going to live up to the Original in people's minds.

In all honesty I thought she brought a liveliness to the role that I have never seen before. I thought her take was different, and different doesn't equal bad. Her voice is not a strong belt, but the night I saw her she hit every note and was in fine voice.

Ricky Martin sang the role nicely, my only knock on his portrayal was that his Che didn't seem to be as "biting" towards the end- lacked a bit of punch I guess.

All in all- I feel really badly that her performance wasn't embraced by the NY Critics the way I had hoped it would be.

I'm sure Patti's thrilled.

Posted: 5/2/12 at 12:24pm

Just saw the show last night, and while I was wary after reading this board, I thought Elena was phenomenal. I think her journey from ambitious, energetic teenager, to the woman in the Lament was well-acted and complete. I found myself sympathizing with her, likely to the detriment of the intentions of the show (but that is likely a directorial choice).

Her voice is definitely shrill, but I found it interesting and (like many have said) very similar to Piaf. In fact, after the Lament, even my sister commented that she sounded like Piaf. I also found her accent quite charming, but I know all the words, so I'm sure that helped me greatly.

Overall, my sister and I found her stunning, and I come away very saddened that she didn't get a nomination. Different strokes, obviously, but though I lurk here mostly, I wanted to put out an opinion that seems to be contrasting to most regarding her performance.

The difference between her performance and that of Ricky is startling. He sang much better than I thought he would, looked adorable (his ass!), and was very charming, but he (and the director?) didn't understand even one-tenth of that character. Where was the man who could open up singing this?

His head held high while millions weep?
Why the exception to the rule?
Opportunist? Traitor? Fool?
Or just a man who grew and saw
From seventeen to twenty-four
His country bled, crucified?
She's not the only one who's died!

I didn't see that man at all, even while Ricky was singing the words, and that was the major flaw of the production in my eyes. Che was a complete cipher.

Cerveris was really great and well-rounded as well (what a voice!) and Max Von Essen impressed both of us.

[danf90]

Posted: 5/2/12 at 3:34pm

"Saw the show tonight.........This has been the first show in a very long time where there was no standing ovation at the end!

The Mistress got a bigger applause then Elena did actually."

You are literally lying - you cannot have been there last night if you say there was no standing O, or that Rachel Potter got a louder applause than Elena Roger. As soon as Elena walked out to take her bow the entire audience erupted and anyone who wasn't stood up already [which was about 80% of audience still sat down] lept to their feet and gave a deafening applause that was much louder than for Ricky, or anyone else. I was sat right at the front and turned around and could see the entire auditorium and I couldn't see a single person not stood up.

My personal feelings towards the show are that it is stunning and was robbed of at least 5 Tony award nominations: Elena for best actress, sets, lighting, costume, orchestrations - all of which were some of the best I've seen/experienced in NY this past season.

I don't know what performance any of you guys saw, but I found Elena Roger absolutely and completely captivating. I couldn't take my eyes off her. Her transformation from a 15 year old girl who loses her innocence, climbing her way to the top and her withering descent was astonishing. Her dancing and her acting were faultless. At times, her vocals didn't have the power I felt was required [especially in Goodnight & Thank You] but she has a fascinating and authentic tone to her voice. I cannot understand what performance she must have been giving previously to not impress people [and especially Tony nominators] because in my eyes she is perfect for the role of Eva. Perfect. She's made a fan for life out of me.

Ricky Martin was "meh". His singing was good [by the end] and he was, i suppose, charismatic but the lyrics are so angry and scathing and all he did was smile. His delivery on some lines didn't pack a punch at all. He wasn't terrible, but if he wasn't Ricky Martin I'd say his performance would be very unmemorable.

Michael Cerveris fully deserves his Tony nom - he was great and brought much depth to a small part. Rachel Potter has a bloody stunning voice and really sold herself in her scene as the mistress and Max Von Essen was also great as Magaldi. The ensemble in general were brilliant.

I loved this production. Before I saw it, I said that if i were to go a second time I'd want to see Christina DeCicco as Eva, but having seen Elena I don't think I could. I'm hooked on her. She's magnetic.

[SNAFU]

Posted: 5/2/12 at 3:52pm

Literally lying…. really? I was in center orchestra in the back on the aisle. There were not many people standing at all. the first few rows perhaps where people wanted the performers to see them and their appreciation. I had the better vantage point. Considering the whole show revolves around the lead actress's vocals and not so much her dancing, to say that at times her vocals didn't have the power needed is the reason perhaps no Tony nod to her? ….and a huge disappointment to me.

Tell me, how much intensity there was between Che and Evita? Niether I nor my two theatre compaions found any.

Yes the stage was stunning but I found it seemed to dwarft the actors onstage and the double tiers were not used to their full advantage. The choreography was wonderful but I found a New Argentina to be a massive let down!

Updated On: 5/2/12 at 03:52 PM

[danf90]

Posted: 5/2/12 at 4:03pm

The entire orchestra [I was at the side near the front] and the entire mezzanine were on their feet. You're lying - you said there was no standing ovation, that's very different from "I didn't give it a standing ovation". And you're also lying that Rachel Potter got a larger applause - she didn't, though she was great. Stop trying to create drama where there is none.

"The whole show revolves around the lead actress's vocals" - no it doesn't. This isn't the "someone belts really high, the musical" musical - it's the story of Eva Peron. Her vocals were great throughout most of the song. A few bum notes in Buenos Aires [whilst she was dancing up a storm' and small vocals in Goodnight and Thank You, when singing with the men. Apart from that she was powerful and great, certainly in A New Argentina. The category is "best ACTRESS in a musical" and her acting was astonishing, as was her dancing and her singing.

The intensity came from Elena, but Ricky's acting [or his direction] was strange. As I said in my review, Ricky Martin wasn't great. He smiled the whole way through it and wasn't scathing or angry at all.

[Rainbowhigh23]

Posted: 5/2/12 at 4:06pm

^ I sat front row orchestra left once and the intensity from Elena was almost too much to bear from that close. Such a great experience watching her.

[SNAFU]

Posted: 5/2/12 at 4:07pm

Fine, believe what you will. The entire Orchestra? LMFAO! OK.

Are you very short if I may ask?

Updated On: 5/2/12 at 04:07 PM

Posted: 5/2/12 at 4:17pm

I was there last night and I can backup danf90 about the standing ovation. The applause was decent for Cerveris, then very loud when Ricky came out, and then a standing ovation for Elena. I was front row of the mezz, and it looked like most of the audience was standing and very appreciative

[sklabam]

Posted: 5/5/12 at 9:06pm

I thought she was amazing in EVITA.
Goes to show you, how PL purists are completely skewing this thread.
Elena is amazing.

[danf90]

Posted: 5/5/12 at 11:32pm

I'm 6'2" - not short by most peoples standards.

[HBP]

Posted: 5/6/12 at 12:18am

I saw the Wednesday matinee last week and I thought Elena was thrilling. (Disclaimer: I love Patti LuPone and I listen to the OBCR often.) Her facial expressions were perfect and she sang beautifully. I found myself staring at her often, even when she wasn't the focus of the scene. The only time I had trouble understanding her were during a few phrases in "Buenos Aires" and "A New Argentina" - but I'm sure that's not unique to Elena Roger. I especially enjoyed her performance (and the show in general) during the second half. Her breakdown and death were very moving. I was close to tears, and I studied Eva Perón's life extensively in college, so I am familiar with her flaws. I am really glad I caught Elena, as I had a hard time deciding if I should see her or Christina DeCicco.

The low point of the production, IMHO, was Ricky Martin. He sang pretty well, but he just had no idea what to do with his hands. Honestly, the way the character was directed in this production, he might have been better off just keeping his hands in his pockets and slouching the whole time. This version of "Che" was just very boring, and Ricky did not bring much to the table aside from star power.

Michael Cerveris and Rachel Potter were perfect in their respective roles. Having seen both the FOLLIES revival and EVITA, I think Rachel should have gotten a nomination over Jayne Houdyshell. But whatevs.

Also, I really think Elena was deserving of a nomination, but I did not see all of the nominated performances this year... so I can't really say for sure. The Tony belongs to Jan Maxwell, anyway, so it doesn't make much of a difference, I suppose.


ETA: Regarding her ovation, I was worried because I heard Ricky got more applause during the curtain call. I was surprised to see that half of the audience was already on its feet for the ensemble, then by the time Michael C came out, things got a but louder. The screams and cheering began when Ricky walked out. I was nervous that the response for Elena would be a little more tepid, but people cheered equally loudly.





Updated On: 5/6/12 at 12:18 AM

[JeanGodro]

Posted: 5/6/12 at 6:51am

I have seen the show 25 times. Elena was so amazing gave a standing ovation so much during the show, Her dancing was amazing her range was so good. She should have been nominated. She sung her first line and I stood up and went wow and clapped. She was inspiring. I think she dances better than anyone on broadway.

[PalJoey]

Posted: 5/6/12 at 6:56am

I have seen the show 25 times.

No, you haven't.

[JeanGodro]

Posted: 5/6/12 at 7:03am

Yes I have you can ask Elena met her 10 of those times Jean Godro

[dramamama611]

Posted: 5/6/12 at 7:27am

Can we all just agree that JeanGodro is a troll? Don't feed it.

[The Scorpion]

Posted: 5/6/12 at 10:08pm

I took a trip to Broadway to see this show specifically after falling in love with it in London and Elena's performance. It is very interesting that Elena has been received completely differently on Broadway than in London, where she got rave notices by the critics and a positive response from the audience. It seems the Broadway audience is polarised by her.

From talking to the people sitting around me who didn't like her when I saw the Broadway production, it seems the top complaint is her vocals. No, she does not have as strong a voice as Patti LuPone did; it doesn't bother me...not many people do. Even Elaine in London did not sing how Patti sang and used her head voice to get those Es out in 'A New Argentina' rather than using a Broadway belt. Broadway audiences seem to love belters in a way that London doesn't seem to really care about. I do think the LuPone factor haunts this role on Broadway in a way that it doesn't in London, where no-one outside of Broadway savvies have heard of her (the OBC recording is not even sold in Britain; the shop Dress Circle sells it but it is imported).

I suppose I can understand why some find her shrill, but my reply is that Eva Perón was shrill in her speeches too. Look up any video. Elena feels like a perfect fit for it. Benedict Nightingale said this in his positive review in the London Times: Roger is Argentinian herself and quite a revelation. Philip Quast’s Perón looms over her like a brontosaurus over a stick-insect, but, whether she’s shimmering in triumph or preparing for a poignant death, it’s Roger who commands the stately marble and elegant iron fretwork of Christopher Oram’s set. She has a grin the size of her body, and it can look flirtatious, sassy, voracious or delighted, depending on circumstances. There’s also a brashness in her voice, at times so jarring that I thought my ears were being attacked with an electric screwdriver — but then again, wasn’t that Evita?

The score is ridiculously difficult though and Elena had no problems singing a less vocally challenging role like Fosca in Passion, where she was a delight to hear. For me it is a combination of her voice (which I like) but also her acting, dancing (say what you will, but Patti could NEVER dance like that; in fact, the dancing was muted when Hal's production came to Broadway -- Elaine danced more) and her sheer energy. It's not quite the energy I saw in London, but it's been a six-year gap and Elena is a few years older now than both Patti and Elaine were when they did the roles. She was about the right age when she did the role in London. I think, for some reason, her voice was better in London and less scratchy on the top notes...not quite sure why.

What I cannot understand are complaints about her accent -- Elena is fluent in English now, and she wasn't when she started in London. She is completely clear and is her diction is no worse than Patti's ever was (for the record, I love Patti and Elaine in the roles too). And I still have never heard the Lament sung more beautifully than how Elena does it. I still think Elena delivers a great performance on Broadway and it was worthy of a Tony nomination (I don't really understand how Josh Young got a nomination, to be honest). But I do wish the people who dislike her could criticise her without resorting to namecalling like 'Her Shrillness'...LuPone-fanboys/-girls can get tiring.

A poster above said the show's been whitewashed since London...that's probably true, and I think it's partly to be less controversial given the much greater contingency of audience members from Latin America. Matt Rawle was a far more biting Che and I also think Eva is played far more sympathetically. Elena chose the sympathetic approach in London but I don't think the politics were as backpeddled as they are here -- several audience members have come over from Argentina, and I think they'd be pretty horrified if the role were played today like it was in the 70s, because even the anti-Peronists in Argentina probably wouldn't go to the extremes that were portrayed by then. Hal Prince called Evita "evil" back in the day; since then, more research has been done and the consensus is much more ambiguous. The jury's even still out as to whether Perón was fascist or not -- he won by democratic election, but as time went on, used more and more authoritarian policies. But the whitewashing is definitely more in evidence with Che -- Ricky can dance very well, doesn't try hitting the notes Rawle did, but the acting is...well, I don't know it's because he doesn't get the piece or whether he's been directed to be generally affable and perfectly friendly. The angry diatribe against Perón has sort of becoming meaningless the way Ricky delivers it, as if it were just a friendly piece of chitchat addressed to Perón.

Some of the bitchiness about Elena is complete lies though (she does not get less applause than Rachel Potter) and it paints a very bad picture of the audience IMHO who post with comments like that. As I said before, if Broadway won't have her, Buenos Aires and London are more than happy to keep her.

I think Rachel Potter is wonderful (so was Lorna Want in London) and like how the orchestrations have been improved since London, particularly with the increased use of the bandoneón. Not sure what I think of the new opening; I think it worked better how it was done in London, but I think it's been partly reworked to provide Ricky Martin with an *entrance*. A lot of criticisms of the London production seem to have been taken on board -- the set is more varied now, so you know whether you're outside or inside the Casa Rosada, and the flags are a nice touch (although it caused a major blooper in one performance I saw).

Not really the place to post about it, but...there's an usher who works in the mezzanine called Donna. I was absolutely terrified by her, as were several audience members around me. Not sure she's best suited to work involving dealing with people...



Updated On: 5/7/12 at 10:08 PM