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#276

Evita

Posted: 4/2/12 at 8:09pm

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.

#277

Evita

Posted: 4/2/12 at 9:50pm

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.

#278

Evita

Posted: 4/2/12 at 10:32pm

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.

Updated On: 4/2/12 at 10:32 PM

#279

Evita

Posted: 4/2/12 at 11:33pm

"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.

#280

Evita

Posted: 4/3/12 at 9:14am

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.

#281

Evita

Posted: 4/3/12 at 4:54pm

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.

Updated On: 4/3/12 at 04:54 PM

#282

Evita

Posted: 4/3/12 at 4:57pm

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).

#283

Evita

Posted: 4/3/12 at 6:47pm

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.

If we're not having fun, then why are we doing it? These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.

#284

Evita

Posted: 4/3/12 at 7:06pm

"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.

Salve, Regina, Mater misericordiae
Vita, dulcedo, et spes nostra
Salve, Salve Regina
Ad te clamamus exsules filii Eva
Ad te suspiramus, gementes et flentes
O clemens O pia

#285

Evita

Posted: 4/4/12 at 9:21am

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

#286

Evita

Posted: 4/4/12 at 11:17am

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.

#287

Evita

Posted: 4/4/12 at 11:26am

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

"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal "I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello

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