Why isn't Josefina Scaglione not the mistress in Evita?- Page 3

[adamgreer]

Posted: 7/30/11 at 9:13pm

Roger's voice just isn't very appealing.

It's kind of a disgrace to listen to Mandy Gonzalez knock it out of the park, then hear Roger struggle through this song, and know that Roger will be headlining the revival this spring.
Updated On: 7/30/11 at 09:13 PM

[somethingwicked]

Posted: 7/30/11 at 9:18pm

The recording doesn't do Roger justice. While her voice is indeed very... specific, it works in context. The dynamic gravitas she brings to the role is absolutely electrifying.

I don't think people will be disappointed with her performance.

Updated On: 7/30/11 at 09:18 PM

[givesmevoice]

Posted: 7/30/11 at 9:35pm

I've heard from a few people that she was MUCH better live than on the recording. And, to be honest, I would like the London Cast Recording infinitely more if it didn't feel like every song was so much slower than on the OBC.

[inlovewithjerryherman]

Posted: 7/30/11 at 9:44pm

Yes, the Roger's recording's tempos are DREADFULLY slow. "A New Argentina" is like a funeral dirge.

Although, I will admit that after the rave reviews she got in the part, when I heard the Rogers recording, I let down.

I can see how it would work live.

[Michael Bennett]

Posted: 7/30/11 at 10:02pm

I would agree that Roger's voice isn't as musically appealing as some who have played the role but she was extraordinary in the role on stage-- it's a voice that more echoes that of Julie Covington (the "true" creator of the role)than her Broadway successors and it is at times shrill and ugly but live its also ruthless and thrilling and every inch the voice of the 'character' of Eva Peron.

[shrekster224]

Posted: 7/30/11 at 10:26pm

"Jessica Lea Patty is terrifically talented, and has proved herself understudying principal roles from show to show to show the last few years. Given her substantial dance abilities and history in the chorus, though, it makes more sense that she'd be the understudy in the ensemble rather than the alternate....I certainly think Patty is destined to break out of the chorus soon....She's too good not to."

Well put. I took a master class from her, and if she would have stopped after the dance warmup alone I would have felt that I got something out of it. She is one of the many people that I think of as a true triple threat, and her dancing is superb.

[lordtubbington]

Posted: 7/30/11 at 10:30pm

i really don't know what to say at this point.

[CurtainPullDowner]

Posted: 7/30/11 at 10:46pm

Thanks for that linc SomethingwicKid, The choreography looks typical Ashford, patterns, kicks and NO storytelling. Rogers is growing on me, her face is sort of mash-up of the Pone and Betty Buckley. Bennett is right on, the shrillness is right for the role.

As for Hosafina, they should revive CARNIVAL for her, she would be a lovely Lili, just move it to South America.
No racism implied.

[somethingwicked]

Posted: 7/31/11 at 1:46am

According to a mutual friend, Jess Patty is indeed the understudy for Eva in the ensemble. She's going back into THE ADDAMS FAMILY next month (in a different track than she did the first time around) until rehearsals for EVITA start in February.

For those who are curious to see what she can do, here's a clip of her singing a song about (ironically) the perils of being a understudy. Very cute.

http://www.youtube.com/watch?v=SKtI4WOK6C0

Updated On: 7/31/11 at 01:46 AM

[best12bars]

Posted: 7/31/11 at 6:36am

She's okay, nothing great, but that song is wretched.

The UN-der-stud-EE.

WTF?

[CurtainPullDowner]

Posted: 7/31/11 at 8:04am

Best12 is correct. If you are trying to show how talented JLP is, take down that video. The song is painful, and her performance not much better. I can see why she is an under-stud-eee and not a star.

[mikem]

Posted: 7/31/11 at 8:13am

Going back to Les Miz contracts, in the original production, the only principal contracts were Valjean, Javert, and Fantine. I have no idea about the revival.

It is in the producer's best interest to have only a small number of principal contracts, so the actual assignments may have nothing to do with logic.

Updated On: 7/31/11 at 08:13 AM

[AC126748]

Posted: 7/31/11 at 8:31am

Fantine was a principal contract? With the exception of LuPone in London, I was under the impression that Fantine always appeared in the ensemble during Act Two (just as the actors playing Cossette and Eponine appear as whores during "Lovely Ladies"). Randy Graff definitely did. So, the actor playing Fantine was on a principal's contract while still appearing in the ensemble?

[ClapYo'Hands]

Posted: 7/31/11 at 9:10am

Thanks to Patti LuPone, every actor who played Fantine in the original production appeared only briefly in the students scenes. This wasn't deemed enough to put her on an ensemble contract, I do believe.

[best12bars]

Posted: 7/31/11 at 10:15am

Just remember, it's negotiable. I can guarantee you Patti's contract as Fantine wasn't the same as other actresses, unless they were a "star" or name performer. I'm sure their salaries aren't the same either, even if she took a salary cut to play it (which she probably did, back then). These are customized contracts, not generic. Not when you get to the level of Broadway or the West End. You've got agents and managers involved, not just unions and producers.

But if an actress is hired exclusively to play the role Fantine, you would have a hard time convincing Equity that she should be on a chorus contract, unless she appears as other characters or ensemble as well.

Updated On: 7/31/11 at 10:15 AM

[best12bars]

Posted: 7/31/11 at 10:28am

For something like Sunday in the Park on Broadway, I'm going to speculate that Mandy and Bernadette were on principal contracts, even though everyone plays multiple parts. That's a no-brainer. And I'll also bet that everybody else was on a chorus contract, even if salaries and other perks were elevated in certain cases, depending on the actor (and the actor's agent). Chorus contracts would allow future performers to come it at "Equity chorus minimum" and help lower the production budget.

With a show like A Chorus Line or 1776, you run into a problem that essentially everyone on stage (with a few minor exceptions) is a principal. Not sure how they negotiated that, although since everyone in both shows had "favored nations" (alphabetical ensemble) billing, that may have carried over into the contract negotiations. Anybody here know? Were they on chorus contracts or principal? I could see it going either way.

Updated On: 7/31/11 at 10:28 AM