Broadway Legend Joined: 8/5/11
Its a beautiful song and I love it but it sorta just comes out of left field for me. We have this person we don't know sing it and then she leaves and we never see her again. I have always been a bit confused on the placing of the song where it is in the show. Does the mistress stand for some weird symbolism Im not getting or what? The song just seems to to come at you and hit you and then leave without saying much. What do you guys think?
Updated On: 6/11/13 at 11:33 PM
I never saw the original production but I wouldn't be surprised if it's the kind of song designed to allow for a scene change or just give the actress playing Eva a break. It's a pretty song and whatnot but it's also pretty irrelevant in what it tells us or reveals about the characters.
I kind of always thought that the mistress is supposed to kind of embody the life that Eva had been living up until that moment as the mistress of others, who could be replaced by another mistress. But maybe I was over-thinking it
Broadway Legend Joined: 8/5/11
"It's a pretty song and whatnot but it's also pretty irrelevant in what it tells us or reveals about the characters"
And thats what my problem is with this song. I love the song but it doesn't really move the show along. If anything it just stops it. Someone on youtube said ALW put it in the show so Evita could have a break before she had to sing "A NEW ARGENTINA" but im not sure how much truth there is to that.
Updated On: 6/10/13 at 11:50 PM
Since it was a concept album first, I doubt it was written for a scene change.
Broadway Star Joined: 5/12/03
The song has always been criticized as being pointless. It sort of worked better in the movie when Eva sang it.
Broadway Legend Joined: 8/5/11
"I kind of always thought that the mistress is supposed to kind of embody the life that Eva had been living up until that moment as the mistress of others, who could be replaced by another mistress"
Thats also another theory of mine. It seems to me like Evita and the Mistress are complete foils. Evita is ambitious and the Mistress is passive and doesn't put up a fight. I somehow think that song kinda lets us see what would have happened to Eva if she did give up on her dreams and if she wasn't such a hard ass.
Updated On: 6/11/13 at 11:54 PM
loliveve, same!
It conveys the feeling of a person moving around, without a permanent home. The way she is feeling at that moment. Constantly moving from a place to another.
Broadway Legend Joined: 8/5/11
"The song has always been criticized as being pointless. It sort of worked better in the movie when Eva sang it"
It did work well in the movie i agree. Did you see the revival? How did they use it in the show?
Broadway Star Joined: 5/7/13
Broadway Legend Joined: 8/5/11
"It conveys the feeling of a person moving around, without a permanent home. The way she is feeling at that moment. Constantly moving from a place to another"
That's all well and good but that doesn't do anything for the plot of the show. If the Mistress was actually a detailed character then i guess you could argue that, but we never see her again so her "story" doesn't really pertain to the show.
Broadway Legend Joined: 7/30/09
When I was in a production, our director told us that the song was cut from another show, but ALW liked it a lot and wanted to put it in a show. I don't know if that story is true or not.
The song is intended to show the consequences of Eva's actions, which leads us into Peron's Latest Flame. Up until this point, it's just been fast-paced plot chronicling Eva's rise up the ladder, but Another Suitcase stops this momentum to show how Eva's actions have hurt others. A very well-done college production that I saw staged the song so that the backup part (usually sung by Che) was sung by the lovers from Good Night and Thank You, so it was everybody who Eva had shafted so far lamenting on how they are now lost because of her. This leads nicely leads into the comical criticisms of her in the following number.
Broadway Legend Joined: 8/5/11
WOW AwesomeDanny I never thought of it like that before! I can totally see what you mean though. Wow, that just added a whole new layer to the show for me! Thanks man. You really are awesome HAHAHA
It is political commentary as well. The mistress shows where the people of Argentina stood before Peron and Evita rose to power.
It is more about the nation and the people than about the girl.
Broadway Star Joined: 5/12/03
You have to remember Evita was originally just an album. A lot of the songs became hits including "Suitcase." Then when the staged it I'm sure they realized the song didn't really fit and they had to employ an actress just for one song BUT the song was popular so they had to keep it in.
I saw both the revival and original OBC. Both times it was staged pretty simply with eVITA THROWING HER OUT AND THEN THE MISTRESS JUST SITS ON THE SUITCASE AND SINGS. (oops sorry about the cap lock)
When I saw the original as a kid I remember thinking Jane Ohringer was very weak and could barely be heard. She apparently never sung again after Evita.
I thought Rachel Potter did a beautiful job with the song in the revival, but they should really give this song to Eva or at least find a creative way to demonstrate that the song is about her.
I think in the movie it worked so well because Eva sang it first and then when the Mistress sang the short reprise and Eva sang the "Don't ask anymore" part, it marks the point when Eva transitioned from being the oppressed to being the oppressor.
Wow, you guys are dangerously close to complimenting the EVITA movie. Let's stop now before someone says Madonna was better than Patti LuPone.
I have no problems complementing the Evita movie. Madonna was in no way better than Patti, but I don't think anybody expected her to be. Originals are usually better, unless you're Liza!
If only Liza had played Evita in the film like she was rumored to at one point! Not that I think she was right for the role, or la Streep!
I knew about the concept recording, I didn't really know whether the song was a part of it or not, but I still feel it's mainly there for practical reasons rather than artistic ones, and it's not like the two are mutually exclusive. I'm sure directors have found a way to interpret it and make it work for the story, but IMO you could remove the song and your understanding about Argentina's historical context, Eva or any of the characters would virtually remain unchanged.
Broadway Legend Joined: 8/5/11
"Wow, you guys are dangerously close to complimenting the EVITA movie"
There is definitely no chance of that happening. They did that song right for the film but the rest was just awful. Antonio was good though.
"Let's stop now before someone says Madonna was better than Patti LuPone."
I don't think anyone is stupid enough to say that. Madonna can't even touch Patti.
Updated On: 6/11/13 at 12:51 AM
Ray, she was also rumored to star in the original production, I would've killed to see her Evita.
Updated On: 6/11/13 at 12:52 AM
Broadway Legend Joined: 8/5/11
Acting wise I really can't see Liza playing Evita but DAM she would knock the vocals out of the park. I would sell my foot to hear her sing that score.
Broadway Legend Joined: 9/16/07
What Ray says. There are probably a variety of serious, but I'm sure none of them were that they put the song in the show, decided it didn't work but left it anyway. Also, it sets up the reprise of it in "Dice Are Rolling" in Act Two.
Danny, I know that "I Don't Know How to Love Him" was reworked trunk song of theirs, but I've never heard that about another suitcase. You're teacher might have been misinformed by someone else or something, but I'm fairly certain Another Suitcase was always intended for Evita. If anyone else knows something, feel free to set me straight.
Acting wise I really can't see Liza playing Evita but DAM she would knock the vocals out of the park. I would sell my foot to hear her sing that score.
I don't know, something about Liza's vulnerability and needy persona on screen/stage could have worked wonders during some of the moments in the show when Eva seduces people (Magaldi, Peron, her people). Her "I'd Be Surprisingly Good for You" would be fascinating, I'm not sure if it'd have been good or not, but interesting nonetheless. She certainly wouldn't have played it as the hurricane of personality that LuPone brought out, and she wouldn't have been quietly manipulative like Madonna envisioned her, but rather a desperate girl trying to climb her way to the top and burning too bright too soon. She might have been miscast or she might have been a revelation, we'll never know, which is a real shame.
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