#26
Posted: 3/12/12 at 11:00pm
A picture of the set from curtain call surfaced on Twitter. Looks great. https://twitter.com/#!/4GlobalWellness/status/179400557981736962/photo/1
#28
Posted: 3/12/12 at 11:12pm
Yikes! This means that I gotta get there early if I plan on getting rush tickets then. I really want to see this show!!
#29
Posted: 3/12/12 at 11:20pm
It's the same design as in London right? The set in itself is nice, but I'm still not sure about such a literal look to Evita.
#30
Posted: 3/12/12 at 11:24pm
Auugh! Where are the people's comments that went to the show!!!!
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.
#31
Posted: 3/12/12 at 11:26pm
I know we usually have a bunch of comments by now. Please hurry up. I need to go to sleep! :)
Scratch and claw for every day you're worth!
Make them drag you screaming from life, keep dreaming
You'll live forever here on earth.
#33
Posted: 3/12/12 at 11:43pm
I'm still on my phone and will type more when I get home. The show is in pretty solid shape. Elena is thrilling. I think she will be polarizing in the role, but count me as one who has fallen hard.
Ricky Martin is fine- better in the second act. He was never stiff though and seemed at ease.
Ricky Martin is fine- better in the second act. He was never stiff though and seemed at ease.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#35
Posted: 3/12/12 at 11:47pm
Second-hand news but I just got off the phone with a close friend of mine who saw the show tonight - who also happens to be a huge EVITA and Lupone fan - and he thought it was spectacular! He said the show went off without a single hitch and that the audience went wild during the curtain call. He said it was hard to believe that it was only the first preview. He's on cloud 9!
#37
Posted: 3/12/12 at 11:54pm
http://www.facebook.com/photo.php?fbid=10150729092702359&set=a.10150125372527359.329724.775487358&type=1&theater
Probably can't see that, but that's a better pic of the curtain call. One of the producers posted a pic. If i knew how to upload pics I would.
Probably can't see that, but that's a better pic of the curtain call. One of the producers posted a pic. If i knew how to upload pics I would.
#38
Posted: 3/13/12 at 12:02am
I can't wait to see Elena Roger prove the doubters wrong.
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008
#39
Posted: 3/13/12 at 12:03am
Why so literal with the set???
Those Blocked: SueStorm. N2N Nate. Good riddence to stupid! Rad-Z, shill begone!
#40
Posted: 3/13/12 at 12:15am
LJ...I'm not very familiar with Elena Roger or her voice for that matter. To be quite honest, I was not too keen on her voice. She has a good voice...but not a great voice. I was disappointed that she didn't have a soaring vocal in her repertoire. To me, it seems that any potential "Evita" needs to have a "commanding" voice...especially with those high notes. She had a sort of lilting voice...almost fragile. Roger's voice actually reminded me less of well known Evitas...and more of Edith Piaf. Her acting and dancing were marvelous, but I thought her singing was not quite what I expected. The young man next to me, with his mother, was a bit more vocal in his disappointment with Elena's voice. Ricky Martin was o.k. in his role as "Che". His delivery was more pop-flavored than Broadway, but it was effective. He received a good response in his initial scene. Michael Cerveris was in good form and voice. However, I was blown away by Max Von Essen (Magaldi and one of the two "Che" understudies). He amazed me with his delivery,comic timing and dancing. The dancing was unbelievable, for all concerned. The ensemble as a whole did a fantastic job. My only disappointment was Elena Roger's voice. Although there are bound to be comparisons to Patti and Elaine, I still wished that her voice had more authority and forcefulness. The stage door was madness at the Marquis Theatre. I did manage to reach "the barricades". It was slowgoing for the different performers to go out. The lady who played the Mistress and her understudy came out. Max von Essen signed autographs for many people. By the time it was 11:15 p.m., I decided not to wait anymore for the other principal actors. Also, considering the number of people who were crowded against the metal barriers (or whatever they're called), I thought it was prudent to make a safe exit. I didn't want to get caught in the crush when Ricky Martin came out. I can only imagine what that turned out to be. That's all for now. I have to get to bed. SuperShuttle is picking me up at 7:10 a.m. Yikes. from Roman in NYC..soon to be back home in Austin, Texas P.S. I almost forgot. I didn't check out the song list too carefully. I was very much surprised that "You Must Love Me" was inserted into the show. Very surprised. Also, I was surprised that I really wasn't moved by "Evita's Lament" as done by Ms. Roger. I think her tempo went a little too fast. Her Eva sounded a little too energetic, I thought. I'm curious to read what others think of the show and Ms. Roger.
"Noel [Coward] and I were in Paris once. Adjoining rooms, of course. One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective. Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'" (Beatrice Lillie)
Updated On: 3/13/12 at 12:15 AM
#41
Posted: 3/13/12 at 12:30am
Home now and ready to share some more detailed thoughts.
ljay- I mentioned Elena would be polarizing and the reason being will be her voice. I have grown to adore her performance on the London cast recording (never saw her there live), and find her choices fascinating. A general warning to everyone: If you go into the production expecting to hear Patti's vocals you will be disappointed and not enjoy yourself. Elena makes it work and she does hit all the notes, but in her own way. There's a raw edge that makes her performance wild.
Ricky really is not bad. After just hearing Mandy Patinkin sing "Oh What a Circus" at his show with Patti there was a lot to live up to. Ricky doesn't have any of the upper register, but he sings with conviction and "The Money Kept Rolling In" was well done. I don't think the role really requires for him to flex any acting muscles, and that's fine.
Michael Cerveris sounds wonderful and looks strange with hair. He matched Elena well.
The set is literal, as is the production, but it's gorgeous and functioned without a hitch tonight. Loved the lighting too. All around very high quality of production value. You feel like you're getting your money's worth.
Rob Ashford has done some of his best choreography to date. Really nice work from him, and the ensemble executing it. Of course I didn't even notice if the ensemble was present during "Buenos Aires" because I couldn't take my eyes off Elena. She was stunning in that number.
My complaint about tonight was the show itself. I really found it kind of clunky and found myself saying, "So these are the tracks I often skip on the CD!" Tim Rice always raises some eyebrows with his lyrics and so many of the crowd scenes seem tedious. Let the show open with "Oh What a Circus" and get to "Buenos Aires." So much filler in between. Not much happens in act one and it ran less than an hour. Act two is better, but I think the death scene in "Man and Boy" was shorter!
Overall I liked it, but didn't LOVE it. Other than Elena it didn't blow me away, but I think it's going to be a big hit.
ljay- I mentioned Elena would be polarizing and the reason being will be her voice. I have grown to adore her performance on the London cast recording (never saw her there live), and find her choices fascinating. A general warning to everyone: If you go into the production expecting to hear Patti's vocals you will be disappointed and not enjoy yourself. Elena makes it work and she does hit all the notes, but in her own way. There's a raw edge that makes her performance wild.
Ricky really is not bad. After just hearing Mandy Patinkin sing "Oh What a Circus" at his show with Patti there was a lot to live up to. Ricky doesn't have any of the upper register, but he sings with conviction and "The Money Kept Rolling In" was well done. I don't think the role really requires for him to flex any acting muscles, and that's fine.
Michael Cerveris sounds wonderful and looks strange with hair. He matched Elena well.
The set is literal, as is the production, but it's gorgeous and functioned without a hitch tonight. Loved the lighting too. All around very high quality of production value. You feel like you're getting your money's worth.
Rob Ashford has done some of his best choreography to date. Really nice work from him, and the ensemble executing it. Of course I didn't even notice if the ensemble was present during "Buenos Aires" because I couldn't take my eyes off Elena. She was stunning in that number.
My complaint about tonight was the show itself. I really found it kind of clunky and found myself saying, "So these are the tracks I often skip on the CD!" Tim Rice always raises some eyebrows with his lyrics and so many of the crowd scenes seem tedious. Let the show open with "Oh What a Circus" and get to "Buenos Aires." So much filler in between. Not much happens in act one and it ran less than an hour. Act two is better, but I think the death scene in "Man and Boy" was shorter!
Overall I liked it, but didn't LOVE it. Other than Elena it didn't blow me away, but I think it's going to be a big hit.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#42
Posted: 3/13/12 at 12:47am
Great reviews!
I do think Prince's staging masks some of the weaknesses--but I've only seen clips of this one from London (I admit though i found Ashford's ensemble choreography for Buenos Aires oddly staccato and forced as performed by the London cast--I wonder if it's the same). From the London recording, and hearing a recording of her in the recent London Passion, I get why people might not necessarily like Elena's voice, though she sounds great n the role to me.
Whizzer--what, you'd have them skip On This Night of a Thousand Stars??
I do think Prince's staging masks some of the weaknesses--but I've only seen clips of this one from London (I admit though i found Ashford's ensemble choreography for Buenos Aires oddly staccato and forced as performed by the London cast--I wonder if it's the same). From the London recording, and hearing a recording of her in the recent London Passion, I get why people might not necessarily like Elena's voice, though she sounds great n the role to me.
Whizzer--what, you'd have them skip On This Night of a Thousand Stars??
#43
Posted: 3/13/12 at 12:53am
Lol- yes Eric, as adorable as Max von Essen is skip all that stuff. If you have to keep the song let him sing the whole thing at the benefit later in the show.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#44
Posted: 3/13/12 at 1:18am
Well I loved how that moment was handled when I saw the tour of the Prince production but I will concede that a lot of the material between those sections could easily be cut or trimmed (I know many have issue with the several false openings it has too).
#45
Posted: 3/13/12 at 5:40am
I was there last night as well and pretty much agree with Whizzer across the board. I'd seen the production in London and seeing it again came away feeling
More than ever like the real genius behind the original production was truly Hal Prince. Grandage feels almost paralyzed in his staging- haunted by the swirling images of the original that he can't duplicate here; unfortunately his alternative choices seem to only illustrate the flaws in the piece, which as I think Eric pointed out recently isn't so much a narrative as an oratorio of scenes from Peron's life. It's not a piece enhanced by realism, though the set and lighting of themselves must be said to be very beautiful. I also continue to feel like the choice to canonize the character of Peron and down play her villainy is. Mistake (this production retains the edits from the UK, cutting a few of the more bitchy passages Eva delivered in the original)
Roger always has and always will be polarizing in the role. Vocally she is Piaf- she is A south American Julie Covington- she is not LuPone. I still think she is brilliant in the role (especially the second act) but did feel like that for whatever reason her performance was pulled back and more vocally tentative than what I saw in London. I'm not sure if that was a product of direction or nerves but part of what made her so exciting in London was a sort of manic wildness that hopefully will return with greater power with a few performances under her belt on Broadway.
Martin isn't going to win an Oscar for Shakespeare, but was likable, sang well and was adored by the audience. Michael Cerveris was very in Bob Gunton mode and had I felt fairly electric chemistry with Roger. The mistress has the best voice of the evening but is the only one one stage not doing an accent.
I do think the show will be a box office hit though imagine a lot of American critics will be divided on it.
More than ever like the real genius behind the original production was truly Hal Prince. Grandage feels almost paralyzed in his staging- haunted by the swirling images of the original that he can't duplicate here; unfortunately his alternative choices seem to only illustrate the flaws in the piece, which as I think Eric pointed out recently isn't so much a narrative as an oratorio of scenes from Peron's life. It's not a piece enhanced by realism, though the set and lighting of themselves must be said to be very beautiful. I also continue to feel like the choice to canonize the character of Peron and down play her villainy is. Mistake (this production retains the edits from the UK, cutting a few of the more bitchy passages Eva delivered in the original)
Roger always has and always will be polarizing in the role. Vocally she is Piaf- she is A south American Julie Covington- she is not LuPone. I still think she is brilliant in the role (especially the second act) but did feel like that for whatever reason her performance was pulled back and more vocally tentative than what I saw in London. I'm not sure if that was a product of direction or nerves but part of what made her so exciting in London was a sort of manic wildness that hopefully will return with greater power with a few performances under her belt on Broadway.
Martin isn't going to win an Oscar for Shakespeare, but was likable, sang well and was adored by the audience. Michael Cerveris was very in Bob Gunton mode and had I felt fairly electric chemistry with Roger. The mistress has the best voice of the evening but is the only one one stage not doing an accent.
I do think the show will be a box office hit though imagine a lot of American critics will be divided on it.
Updated On: 3/13/12 at 05:40 AM
#46
Posted: 3/13/12 at 6:00am
There a couple of things that I thought somewhat unusual: 1. When the six or so generals are dueling for the presidency, it first comes across as two guys dancing romantically...at least it did to me. Also, that particular sequence seemed a little long. 2. During the scene where the high society ladies and gentlemen" lament the entry of a commoner like Eva into their midst (as Eva and Peron dine alone), the society ladies are dressed nicely, while their male partners are wearing suspenders worn over a white (t shirt?) shirt. That to me seemed off. The curtain has a photo of the original Eva and Juan Peron. There is significant usage of news reel footage of Eva's funeral procession. I thought Eva's dress for the balcony scene was )exquisite and breathtaking. from Roman in (NYC) Austin, Texas P.S. If anyone else actually waited with the massive crowds at the stage door, at what time (if they did) did Ricky, Elena and Michael Cerveris emerge to face their fans? I was afraid of being crushed in the crowd, so I left early.
"Noel [Coward] and I were in Paris once. Adjoining rooms, of course. One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective. Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'" (Beatrice Lillie)
#47
Posted: 3/13/12 at 6:43am
^I know in london Roger did not often come out only because she did not know about 'stage dooring' so by the time she got out no one was ever there. But by all reports she is very warm to her fans.
The problem with the lament is this production is simple, Eva is has to sing what most people see as the shows second famous number right before it. So the actress has to devout her energy and skill on a number that makes the final song an anticlimax.
The problem with the lament is this production is simple, Eva is has to sing what most people see as the shows second famous number right before it. So the actress has to devout her energy and skill on a number that makes the final song an anticlimax.
Updated On: 3/13/12 at 06:43 AM
#48
Posted: 3/13/12 at 8:57am
The singular comparisons with LuPone fascinate me here, because among those of us who saw her (as opposed to hearing the recording), there may be different memories if not a consensus. I saw the very first preview in NYC, 9/10/79. LuPone was not the showstopper; Mandy was. She sang much more in hear head voice, by the way, and the voice didn't sound as big as one would imagine from the recording, done in CA. Anyone who's read her memoir knows she fought the score/protected her voice for the entire run -- her words, not mine. And when she began the run, she sang prettily, but not with the overall excitement that everyone seems to recall. I went back fairly early and saw Klausner, and she had a much more powerful belt in act one that fit the music. Later Evas, especially Florence Lacey, also had that sound. That night of 9/10/79: I recall going to Ted Hooks Backstage (remember that spot?) and other people saying "Mandy is the real star." He got the biggest hand.
In hindsight the LuPone performance has since been embraced by many as vocally and histrionically definitive, and I saw it twice (again in December of '79). But she wasn't yet a star, and again, Patinkin was as much the event that first year as she. If anyone doubts my appraisal, dig up the reviews. She did not knock everyone's socks off, and by Tony time, many people were rooting equally for Sandy Duncan's Peter Pan. Rumor has it the vote was close.
To her loyalest fans: This is not LuPone bashing, just a gentle way of pointing out that her performance was liked but not universally adored. After she left, the role was played indifferently (Derin Altay) and then with a whole new interpretation, Loni Ackerman, imported from the new west coast company. I had a friend in the show, and revisited it a few times. I still liked the Klausner act one, she was sexy and seemed young (and a great dancer; had been in CHORUS LINE on the road) but must admit LuPone acted the second act the best.
The role won LuPone a Tony, but many women have played it, and technically speaking, most New York audiences saw anyone but LuPone. She played it 18 months, and the show ran several years.
I will be curious to hear Roger.
In hindsight the LuPone performance has since been embraced by many as vocally and histrionically definitive, and I saw it twice (again in December of '79). But she wasn't yet a star, and again, Patinkin was as much the event that first year as she. If anyone doubts my appraisal, dig up the reviews. She did not knock everyone's socks off, and by Tony time, many people were rooting equally for Sandy Duncan's Peter Pan. Rumor has it the vote was close.
To her loyalest fans: This is not LuPone bashing, just a gentle way of pointing out that her performance was liked but not universally adored. After she left, the role was played indifferently (Derin Altay) and then with a whole new interpretation, Loni Ackerman, imported from the new west coast company. I had a friend in the show, and revisited it a few times. I still liked the Klausner act one, she was sexy and seemed young (and a great dancer; had been in CHORUS LINE on the road) but must admit LuPone acted the second act the best.
The role won LuPone a Tony, but many women have played it, and technically speaking, most New York audiences saw anyone but LuPone. She played it 18 months, and the show ran several years.
I will be curious to hear Roger.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
#49
Posted: 3/13/12 at 9:14am
Thanks for that Interesting post Auggie; it's of course worth noting that the LuPone mystique along with the stellar cast recording has done a lot to influence her reputation in the role-- while it appears LuPone eventually found her way vocally and dramatically into the role; I certainly have heard reports from others who saw her in California and early in previews who came away feeling like she was a "chorus girl" who couldn't fill the expectation set by Elaine Paige
#50
Posted: 3/13/12 at 9:18am
I really, really, really wanted to love this show after hearing so many great things about Elena Roger. Though i liked the texture of her voice, I wish it were more powerful. I kept waiting to be blown away. I hope they can all relax into it a bit through the previews. Everything felt a little stiff. I did love the sets and staging. Lighting was fantastic. I hope they can make a few changes, maybe trim a few scenes down a bit, and really make this one work! Feels like it's so close but just falling short.
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