Ouch...Evita didn't even come close to breaking even!

Poor Helena Rogers will never be back on the Broadway now.

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Yeah, that beyotch stank.

But I do think that Elena Roger would make a decent Velma.

I nominate you!

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I said it was more than the enitre cast of BOM -- I misspoke: it was more than THREE times the salary of the entire cast of BOM!


And -- was ALW a producer? The article goes on to say how much he and his Really Useful Company rec'd from the rights:



Composer Andrew Lloyd Webber’s Really Useful Group, which owns the rights to the show, was paid a onetime fee of $100,000. In addition, Lord Lloyd Webber and Really Useful earned fees and royalties totaling about $70,000 a week. From that, lyricist Tim Rice received an undisclosed portion of the authors’ $6,300 weekly license fee.


I have a bridge in London, anyone, anyone?

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Thank you for sharing! That was a very interesting article. Very eye opening and insightful!

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^God no. They should get the real Evita for that.

How insane to think that Follies, the last tenant at the Marquis, had a 40 member cast, well over 20 pieces in the orchestra, and if I remember correctly, their weekly running cost was reported at under 700,000!

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It's hardly fair to say "that beyotch stank" and not talk about how awful Ricky Martin was. I thought Elena did fine, and this revival was obviously not structured for her. It was always Che's show, at least on Broadway, and he was just so weak. Listening to his monologue during Buenos Aires is painful.

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Elena was miscast for a space and production of that size.

I'd say a performer can only be miscast once. If she made to Broadway is because the producers thought she was perfect.

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"It's hardly fair to say "that beyotch stank" and not talk about how awful Ricky Martin was."

I just don't like Elena Rogers, and I don't think I ever will. Was she even in Evita?

But Elena Roger was alright, even if the score may have been a bit beyond her at times. The score sat decently in Ricky Martin's voice, but the role was beyond him. Eh, can't do much about it now.

Wow, I knew it would be bad, but this is a big hit.

"It's a cautionary tale to any producer that is hanging all hope on one big star. If the $$$ totally hinges on that star, you are setting yourself up for disaster."

Totally agree. We have to remember that the bigger the star most likely the bigger the cost of him or her. Which means if that person is going to cost more than the show can produce, it is set up for disaster.

The reason why FOLLIES did so well is that most of the names in the show were not BIG stars that attract much more money. You had well known people like Peters, Paige, etc..but I highly doubt they were making anywhere near what RICKY was contracted for.

I produced a show once in Los Angeles. We had stars and great talent. But, we wanted to see the show just be produced. So I was able to work out a contract that started their salaries at the lowest wage possible and as business got stronger, and even stronger, raises were then in order. The show made a profit and was able to get the stars and non-stars a great salary by the time the show closed.