Ramin and Jenn joining Vancouver Opera Evita- Page 2

[EricMontreal22]

Posted: 4/29/16 at 8:31pm

Oh you'll get them

[A Canadian in NYC]

Posted: 4/29/16 at 11:04pm

I'm there for closing night - can't wait!!

[BwayinVan]

Posted: 4/30/16 at 12:56am

I'm seeing it on Thursday. Crazy that a production of this level will finally be coming to me instead of me having to travel to NYC (although I am enjoying my 5 day trip this week!). Looking forward to it!

[EricMontreal22]

Posted: 4/30/16 at 3:39am

Be sure to wave hi   Where are your seats?

[EricMontreal22]

Posted: 5/2/16 at 5:43pm

A few clips here: https://www.youtube.com/watch?v=vx2EU2Rz0nY

[BwayinVan]

Posted: 5/5/16 at 1:28pm

Seeing it tonight. Will be sure to report back!

[BwayinVan]

Posted: 5/6/16 at 2:19am

Ok so I just got home from the show and I have to say overall it was really good. Caroline Bowman makes a fabulous Eva. She was totally comfortable in the role and you can tell that she has done it before. Ramin was his usual charming self and made a great Che. I also really liked John Cudia as Peron and local actor Shannon Chan-Kent as the mistress. Unfortunately the sound quality was awful!!! It sounded as if Ramin was singing in a bucket in the first Act. Luckily I had seats in the 12th row so I was to hear them without the pics but man it was bad. The Q.E is a HUGE theatre and I wonder if those in the balcony could actually hear anything. I've seen a number of touring productions at the Q.E from various sections but I have never experienced such bad sound quality....it was embarrassing.

But back to the performances. Everyone was very good and Caroline's Eva grew with the show. From being a whimsical social climber in the first act to a powerful, yet delicate, woman in the second. She was subtle when she needed to be but was strong and powerful during Eva's big numbers. You could tell the broadway performers in the cast but the local ensemble held their own.

Overall it was a great production. It's nice to see the Vancouver Opera is pulling some broadway stars and I hope this continues in the future. If it does however they may need to update their sound so that their voices can be given the respect and amplification they deserve.

Updated On: 5/6/16 at 02:19 AM

[Orange Pepper]

Posted: 5/6/16 at 2:59pm

Wow!  Delurking to say that I went on opening night, sat in the 11th row and could have written the same review.  I'm shocked to hear they haven't fixed the sound.  

[Ahmy]

Posted: 5/7/16 at 3:55am

I went to the show tonight and hung around for the talk back. The rehearsal pianist said the sound designer joined the show 5 days before they opened, that a mic would not stay on the same ensemble member for the whole show, and that not everyone in the cast had a mic.

[EricMontreal22]

Posted: 5/7/16 at 5:28am

I'll post a review soon about my thoughts when I saw it Thursday but, performance wise it was mostly everything I could ask for. 

The sound, as everyone has said, was awful for the leads. I already read that from the reviews but thought it would have been improved. The orchestra and chorus sounded great, but the miking on those leads--yikes. It did improve as it went on especially by act II. Ramon got the worst of it--for the first half of ACT I the mike even made it sound like he was lisping his s sounds (think a Liza lisp-"sho" instead of "so". 

I can only imagine they are not used to dealing with mikes at Vancouver opera but by now something should have been done. I went to our talk back too but didn't have the guts to ask about it. Otherwise despite such a short rehearsal time by briadway standards it was so assured, that this is just weird. 

Oh and a quick mention of Cooper Grodin who was excellent as Magaldi. I know it's only a slightly larger role than the Mistress, and Grodin doesn't have the resume of the other musical theatre vets they hired--the positive but brief reviews I've read don't mention him--but he deserves credit for making such a good impression in the small but pivotal role

Updated On: 5/7/16 at 05:28 AM

[EricMontreal22]

Posted: 5/7/16 at 7:18pm

So I was writing a full review, when my computer crashed.  Ugh.  I'll try to bring up my major points.

 

Overall, I was very impressed.  Just to get it out of the way, as mentioned by myself and others, the mics (mikes?) were a mess and really the only serious downside.  This is something that I think, if the run were longer, could and would be fixed--and it did improve as the show went on, but it was a serious annoyance.  The Queen E was one of a series of theatres that was built in Canada around the time of the Queen's Royal Jubilee and they are all barns--it seats 3000.  The acoustics are always an issue, but I've seen a number of tours there (Wicked, Chicago, Cabaret...) and there has never been this big of a problem.  It's a shame that, due to finances, they couldn't have staged this in the Drabinsky built Ford Theatre (now the Chan Centre for the Performing Arts) a truly perfect theatre that has half that capacity, but...  Oh well.  It speaks highly of this production of Evita that it was so strong that the sound was not a serious issue (for me).

I had seen one other production by Vancouver Opera of a musical--their version of Sweeney Todd.  That version used opera singers throughout and, while well sung, was updated in a weird way that made no sense to me.  So, I was worried that this production might do the same--the concept, according to the designer notes, was a concert telling the story of Evita's life.  The set had scaffolding similar to many concert tours.  However, the musical always has been in a way the "telling of Evita's life" and the projection work, as well as some scenic elements were completely organic and never obtrusive.  Frankly, it was a pretty traditional scenic take on Evita and worked well because of that.

All of the leads were excellent.  Ramin seemed completely in his element as Che.  Acting wise, I can't fault any of his decisions, and vocally I only thought some of his lower parts were maybe a bit weak--when he sang something like "High, Flying Adored" his voice really soared.  The conception of his character was slightly puzzling to me--but it always is.  I had seen the anniversary tour as a kid which replicated the Prince staging of Che constantly coming out of the crowd and then disappearing back into it--here he was much more clearly the narrator.  I think I prefer the Prince technique, but this worked.  As for the Che/Che Guevara issue, for the final number he wore a Che Guevara t-shirt and beret.  It worked for me in a vague way--that this isn't actually Che Guevara but that maybe the Peron's reign led to all of that, but at the talk back an elderly man with a foreign accent got upset saying that Guevara would have never have said many of the things that the character said (John Cudia--as Juan, the only lead who was at the talk back--diplomatically said that it was a metaphor up for interpretation).

Caroline Bowman was phenomenal as Eva.  Her transition from the start to the end was particularly strong, I felt, as were her vocals, especially in the upper register.  I assume others have seen her in the Evita tour.  I expected to love her, and I did.  I was especially surprised at how well she danced (and the choreography was mostly very strong).  Not much else to say about her, really.

As was already said Vancouver's Shannon Chan-Kent was very good as the Mistress, and the brief moments between her and Bowman during their exchange made it clear for the first time to me that Eva had no qualms about kicking her right out, and yet had some sympathy.  The number was staged with each man doing the "Another suitcase" line coming in wearing threatening gear (including the same outfit used throughout for the violent oppressors of people against the Peron regime) worked, although it was a bit heavy handed (but so is this musical). 
 

As I mentioned I though Cooper Grodin's Magaldi was a stand out--he also had a few major chorus roles.  If he were (is?) still in the tour of Phantom I might almost want to see that production just to see how he does.

Mostly the staging was very effective.  Some things were borrowed precisely from the Prince production (but I assume they always are) like the "musical chairs" big of The Art of the Possible (did the recent revival do this?)  One thing I didn't remember from theHal Prince anniversary  tour (well, there are a lot of things I don't remember) was in the Act II "Peron's Latest Flame" reprise the aristocrats are slowly beat into submission by Peron's gangs--and end up in the peasant clothes of his followers.  It worked, I thought. 

The choreography was tight, for the most part, and very well danced.  I still love Larry Fuller's original choreography for the soldier's "Peron's Latest Flame" which is iconic to me--Tracey Flye used a different approach with legato movements that ended in sharp turns, instead of Fuller's clockwork precision.  It took me a second to adjust (I've watched that London clip of the Fuller version so many times over the years...) but it worked well I think. 

I had completely forgotten that Evita now includes "You Must Love Me."  I'm not sure if it really works--on stage, at least here, it's much more of a love song to Juan than it is to her followers, and musically it still sounds like it comes out of nowhere, to me, but Bowman sang it beautifully.  (I should mention that John Cudia was a perfect Peron.  A role he seems made to play.)

And... I guess that's basically it.  I feel very lucky to have seen the production, and I feel it was pretty much, severe sound issues not withstanding, all I could ask for an Evita revival and one of the best Vancouver originated (granted, with huge musical theatre stars talent added to the mix) productions I've seen, if not the best.