Hal Prince's letter to Andrew and Tim after first listen to EVITA

What's most interesting is what did and didn't change after receiving this letter; for example, for not liking "Dangerous Jade," Hal seems to have had no problem staging it once the show was on.

You're welcome. Misspellings are noted below with (sic). Not all line breaks are as in the original, mainly when Hal refers to a page number so it is clear what he is referring to occurs on that page.

July 26, 1976

Dear Andrew (and Tim),

Thank you for letting me hear the opera. These are my comments based on one hearing. I have tried to include everything that occurs to me, without reguard (sic) for your feelings, because we start work in Vienna on Wednesday and will be involved with the film until November, so there will be no proper time to get to know you. Overall I think it's a fascinating project. You fellows deal in size and I admire that. Before I get into individual scenes, numbers and lyrics, I would like to say I had a feeling (which grew) that something is missing in the second act. That fate intervenes and levels Evita rather than instruments of her own doing. You touch on growing dissilusionment (sic) within the government, but you don't describe it theatrically. There is no confrontation in which Evita (and Peron) accelerate thier (sic) own downfall. The first act is structured so well that I found myself considering eliminating an intermission, which is a cop-out, and then I realized what I was missing in the structure of the second act. It's all in number sixteen and probably should be solved there.

Now to the script in hand;

The opening is dazzling. I would like, for the stage, to use the movie theatre more organically. Not for multi-media sake, but because I sense something similar to "Citizen Kane" in the piece's style and aspirations.

I've already told Andrew that I'm crazy about the idea of Che functioning in the piece, but I think - again for the stage - he should be much cooler, loose and cynically humorous. If he is to be strident it should be after the waltz, after he is politicized.

The funeral is brilliant, as is Magaldi's song.

Page four. I think Che is too British. I think some of his recitative is corny, quite frankly beneath the rest of the material. I don't get a clear character as I do Eva and Peron and some of the minor characters. He seems a familiar rock performer. "Listen chum face the fact they don't like your act", and "Which means get stuffed" also seems too British.

I don't like the way G.O.U. is explained. It's too easy. It interrupts, but I don't think effectively. On the other hand, I would recommend eliminating number seven entirely, which means that G.O.U. ought to be explained.

"She is a natural high" (Isn't this an anachronism?)

I like Eva's seduction of Peron and the scene that follows with his mistress. I think it will work well on the stage.

I'm sorry, but I do not like Dangerous Jade. I wish that you would exise (sic) it.

The last scene in act one is marvellous but I don't think the aristocrats are written as ingeniously, either musically or lyrically, as they should be. I don't think they necessarily need more material but they are predictable - so I wish they were better written. It remains a question in my mind whether Evita should revert in the final speech or whether she should simply capitalize on the area (sic? not sure; this word doesn't make sense to me as part of this sentence, so I'm assuming he means "aria" instead), after all the audience knows by now who she is.

Entr'acte: (I prefer the first version.)

In "Rainbow High", I do not like the reference to Lauren Bacall. (Principally because it distracts.)

Page thirty-one. I think it is a mistake for Che to say "I don't think she'll make it to England now." It confusses (sic) us. Wouldn't it be clearer if we know from Che that she eagerly awaited an invitation from Buckingham Palace, and subsequently that she was snubbed? (Incidentally, I would retain the quatrain about the king of England.)

Page thirty-six. Much as I like the waltz, there are some words which I do not like. "So why go bananas chasing Nirvanas" (I think it distracts because it is not up to the quality.)

Page fourty (sic). Tim, I am aware that you may be offended by this, but "So Saint Bernadette me!" faintly embarasses (sic). (Again it distracts.)

In summing up, I think the style of the piece should be abrasive - simple - raw is probably a better word. Contemporary Brecht. Bold.

Best to you both,

Hal

P.S. Tim, I wish I'd met you. It might make some of these criticisms easier to take in a more personal context.

Updated On: 1/18/18 at 04:11 PM

I don't like the way G.O.U. is explained. It's too easy. It interrupts, but I don't think effectively. On the other hand, I would recommend eliminating number seven entirely, which means that G.O.U. ought to be explained.

Call me crazy but I can't figure out what Prince is referring to here. What is G.O.U. ?

Fine. I guess I'll have to listen to the original concept album.

Many thanks to g.d.e.l.g.i. for taking the time to transcribe all of that!

The movie did explain what the G.O.U. was, but it incorporated it into the body of the new lyrics for "The Lady's Got Potential" rather than retaining the interruptions from the concept album version.

g.d.e.l.g.i. said: "The movie did explain what the G.O.U. was, but it incorporated it into the body of the new lyrics for "The Lady's Got Potential" rather than retaining the interruptions from the concept album version."

Thanks for that clarification, too!