New Evita - You Must Love Me...

Darn you, chernjam! I vowed that I didn't need yet another Evita recording, but you just pushed me over the edge. Off I go to order it.

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I always thought that the song was more of a realization for Eva... saying "oh my goodness, you really do love me and you aren't just putting on a face for the public"... also, I think that it's her validation to him that she feels the same way.

That's how I always thought of it.

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"Is she saying "You MUST love me" like a demand or is it a moment of surprise/realization like "You must love ME"

Good question, but it doesn't really make sense either way. Granted, we're talking singularly about the title of the song, but it's repeated. She does say logical things in the interior of the lyric ("frightened you'll slip away", etc.). But "You Must Love Me," no matter what word you emphasize, makes no sense.

Granted, Eva is contradictory. "Please forgive me if I seem naive, there's nothing calculated, nothing planned." But her contradictory nature IS calculated. She's too smart to say something like "You Must LOVE me," even if she is on her deathbed.

And there's nothing in the show that implies that Peron doesn't love her. Why is she seeking that validation at that point in time?

IMO, "You Must Love Me" just makes Eva seem more nutso than she was, which as a theatrical device, is unnecessary at that point in the game.

Updated On: 9/1/06 at 02:06 AM

"I didn't understand the song initially, either, but someone posted an explanation of it a while back which made quite a bit of sense. The "don't cry for me" line in the song can be intrepreted to mean don't call for me - as in, don't scream and shout for me, because I'm still of the working class. "The truth is I never left you" is a reassurance to the lower classes that she is still true to her roots."

Sure. But why is she spewing that philosophy on the day her husband was elected? Years later, okay. But at that point in time?

I understand why she would say "the truth is I never left you" on her deathbed. But on her husband's election day? Is she psychic?

"She doesn't want them to feel separate from her, even at that point in time. I'm sure she knew that she would have to appear one with the working classes in the future in order to maintain power."

Yes... but.

It's a chronology thing. The Argentinian public, according to the show, didn't fall in love with Evita until she started throwing them money.

"Don't Cry For Me Argentina" happens at the top of the second act, and the lyric implies that people know what she's about. They simply couldn't, at that point in time. If "Money Kept Rolling In" occurred before "Argentina," it might make sense. But that's not what happens in the show.

"I know! This show is just BS. Did you also know that Eva didn't really have a narrator following her around? And that that narrator she didn't have really wasn't Che Guevara? "

Okay, not the point I was trying to make.

I love "Evita." I really do. I do not think the show is "BS," and I'm sorry if I implied that.

Yes, it has problems. But Evita's problems are fascinating. And the thing is, when Evita is good? It's really good. And that is most of the time.

"I wrote this a while back. Right before Eva goes out to sing "Don't Cry For Me Argentina" the crowd is crying/shouting her name. In the song, Eva recounts her life up to that point, and when she sings "Don't cry for me..." she is telling them that there is no need to cry/shout for here because she is still of the people, she remains one of them ("The truth is I never left you")."

I'm sorry, I missed that thread. I don't mean to cover familiar ground.

And I love your response. But I'm calling "bull****."

The opening lines of "Argentina" are this: "It won't be easy/you'll think it strange/when I try to explain how I feel/how I still need your love after all that I've done"

Again, it's a chronology issue. She hasn't "done" anything at that point in time. Later, yes. But then, no.

Updated On: 9/1/06 at 05:28 AM

Could the 'I still need your love after all that I've done' bit be refering to her rather colourful past? The love that she got while campaigning for Peron and the adoration she had while doing her radio and modeling work? It would fit with the 'And as for fortune' part later on in the song.

Personally in that song I love the double meaning thing for 'Although she's dressed up to the nines, at sixes and sevens with you'. Meaning she's at there level and also confused and out of her depth.

With 'You must love me' - I always thought she wasn't only singing to Peron but the nation too. And that the audience could put emphasis where they wished. I do love the reprise Peron does of part of the song in the finale. I don't think it's on the CD but he sings the line 'How can I be any use to you now, Give me a chance and I'll let you see how. Nothing has changed' to the nation from the balcony.

Evita is the one of two ALW shows that I actually enjoy (along with Tell me on a Sunday).

The little part of You must love that Peron sings in the Montage is on the new CD. I loved this moment in the theatre, I think it reflects his own fear of the future without his wife quite well.

Even though it's a higlights recording (why o why didn't they make a proper 2-disc cast albumm??) it's very good. And it's Philip Quast singing these lines, so what more could you ask.

"Veuve, I think she's referring to what she has accomplished in her life up to that point, and not necessarily what she has done for them. You have to remember that at the time she met Peron, she was already a well-known radio actress having been proclaimed "Senorita Radio."

"It won't be easy
You'll think it strange
When I try to explain how I feel
That I still need your love
After all that I've done
You won't believe me"

I think here Eva is admitting to the crowd that despite having achieved fame and fortune, she still needs their support even though they might not think so."

Okay, I'll buy that.

To digress slightly, I found this new staging of Evita fascinating in that it presented Eva complely sympathetically.

When the original show opened, the critics were rather savage about Webber and Rice's treatment of Eva, claiming that they were idiolizing a person who was, in reality, pretty horrible.

But that production (at least with LuPone, I didn't see Paige), made Eva a real bitch from the get go. The new production makes her incredibly nice, even during "Another Suitcase." Oddly it plays better. Eva is no longer an anti-heroine. She's utterly sympathetic.

Yes, it's mucking about with history. But as far as the musical is concerned, it works much better, IMO.

I think it does some justice to real Eva that she is portrayed better and Elena Roger said in a video featurette on theatre.com that she wants to make her look nice.

The main problem is that there is some difference between real Eva Peron and the character ALW and Tim Rice created. As some people might already know, Andrew Lloyd Webber and Tim Rice based their knowledge on Eva Peron upon one of the few books from Argentina that was available on English during the 70-is. This is Mary Main’s EVITA-THE WOMAN WITH THE WHIP. This author belonged to the rich Anglo-Argentinean part of the society that was opposed to Perons. The historians today concur that this book is mostly based on rumors, unchecked information and lies. It was written with a purpose of slandering Eva Peron and it contains no footnotes and no bibliography. So one should not make any definite conclusions of the real Evita or that era based on the musical alone. The term 'loosly based on the life of Eva Peron' that is often used in connection with the musical, is appropriate.