Jamie Lloyd-helmed EVITA revival to play the London Palladium in 2025- Page 37

[Jordan Catalano]

Posted: 3/8/26 at 2:57pm

goodtimes123 said: "Interesting because I think Jamie Lloyd has said he absolutely wants to do the balcony scene for this production."

Well to paraphrase Gia Gunn, “what he wants do is not necessarily what he’s gonna do”

[TotallyEffed]

Posted: 3/8/26 at 3:10pm

You girls… look good!

[ErmengardeStopSniveling]

Posted: 3/8/26 at 3:11pm

His concern about safety is valid (which the sweaty one has also been yelling about) but this production becomes about 75% less interesting without the balcony scene outside. They might as well not move it if they can't adequately do the balcony in New York. (It's also a massive sales/marketing benefit.)

I don't recall this concern surrounding Tom Francis's stroll - but Tom's also not a cultural lightning rod.

Updated On: 3/8/26 at 03:11 PM

[BJR]

Posted: 3/8/26 at 3:28pm

Genuine question: can’t they put her behind a bulletproof barrier of some kind like a modern politician? The sound is live but simplified and may still be cool enough to become a marketing event. (Though likely the detail of how it is different in NYc and what that says about the US would be noted every time.)

[Theatrefan2]

Posted: 3/8/26 at 3:47pm

ErmengardeStopSniveling said: "His concern about safety is valid (which the sweaty one has also been yelling about) but thisproduction becomes about 75% less interesting without the balcony scene outside. They might as well not move it if they can't adequately do the balcony in New York. (It's also a massive sales/marketing benefit.)

I don't recall thisconcern surroundingTom Francis's stroll - but Tom'salso not a cultural lightning rod."

 

Tom also didn't stand still in one place for 6 minutes 

[TheatreFan4]

Posted: 3/8/26 at 4:21pm

BJR said: "Genuine question: can’t they put her behind a bulletproof barrier of some kind like a modern politician? The sound is live but simplified and may still be cool enough to become a marketing event. (Though likely thedetail of how it is different in NYc and what that says about the US would be noted every time.)"

The reality tho is that... what is even the point of bringing this if they can't make the selling point come across effectively? It's going to cost far more to produce here and will likely still close at the loss. It doesn't... need to come here? 

[MysteriousLady]

Posted: 3/8/26 at 5:52pm

I understand why some people say 'why bother?' if you can't do the outdoor balcony scene but for me the selling point is Rachel. I just want to see Rachel do this and I'm okay if there is no balcony.

As far as does it "need" to open here, no, but then nothing needs to open here. 

[Ensemble17591322022]

Posted: 3/8/26 at 5:56pm

After Cabaret and Sunset I think NYC audiences have caught on to the “Emperor’s New Clothes-ness” of these London productions, and producers know that. It would be a money losing proposition but if people want to set cash ablaze and invest, sure…!

 

Updated On: 3/8/26 at 05:56 PM

[ER765]

Posted: 3/8/26 at 6:42pm

Ensemble17591322022 said: "After Cabaret and Sunset I think NYC audiences havecaught on to the “Emperor’s New Clothes-ness” of these London productions, and producers know that. It would be a money losing proposition but if people want to set cash ablaze and invest, sure…!

"

…sure, Jan.

[TheatreFan4]

Posted: 3/8/26 at 6:57pm

MysteriousLady said: "I understand why some people say 'why bother?' if you can't do the outdoor balcony scene but for me the selling point is Rachel. I just want to see Rachel do this and I'm okay if there is no balcony.

Would she even be willing to commit to an extended run of 9 months to a year? This isn't a play that could ever hope to recoup in a few months. 

[TotallyEffed]

Posted: 3/8/26 at 7:29pm

“It doesn’t need to go to Broadway.” “Should it come to Broadway?” “It shouldn’t go to Broadway.”

 

One of my least favorite arguments on this board. Nothing needs to be on Broadway. There’s no “does this need to be on Broadway” magic eight ball. A show either raises the money to get to Broadway or it doesn’t. There is literally no other journey it needs to go on. It’s not a metaphysical phenomenon. It’s just producers making decisions.