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Post by Deleted on Aug 4, 2019 9:54:47 GMT
Loads of pyrotechnics in Evita!? This just sounds odd. When do these happen? Evita's funeral in the opening scene and during A New Argentina (which incidentally she sings as written - and not an octave lower - for all three verses). There might have been some in Act 2 as well but can't recall where....
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Post by Deleted on Aug 4, 2019 10:10:24 GMT
Dom - thanks for your review (and the spoiler tag with all those extra details). The thing I loved about ALW-TR collaboration (aside from Joseph) is that JCS and Evita both are incredibly classic musical scores. Even those who don't consider themselves ALW fans usually will admit to liking these two. Rice's lyrics are often so sarcastic that leaves room for interpretation and different expression that is part of the brilliance. It's why JCS as a theatre production has always struggled to be financially successful and viable on stage (at least here in the U.S.) Evita, you had Hal Prince who was able to get into the spirit of it and come up with a production that successfully walked that tight rope of Eva as Saint/Bitch. The recent revival seemed to have leaned more on the "saint" side. Eva became more of a tragic character. Not being Argentinian myself, I found myself much less moved and left the theatre thinking "so what" as Ricky Martin and Elena Rogers took their bows together. It was a great set and lighting design; the new orchestrations were fantastic. But aside from that, what makes Evita compelling is trying to figure out is this a tragic story or a musical bio-pic (which the Madonna movie also seemed to be) I'm intrigued and totally agree with you that removing these properties from ALW/TR and their influences and allowing new sets of eyes to play with them is something I'd like to see more of. I appreciate where they might come from and would worry about a complete bastardization of their work. But to allow some creatives with a good reputation and credibility to bring a new take on it, I'd love to see more of. Sorry I can't get over to UK to check this out... but can't wait to read more of all your takes Definitely a classic score. And played beautifully here by an 18 piece orchestra with an expanded strings section compared to the Adelphi. In fact it is played very classically, more like the original than the Adelphi version which made more of the Latin rhythms and beats. Sounds fabulous! Though again this as an odd decision as rest of the production so unusual, you'd have thought they might have changed the sound of the piece and the orchestrations. Anyway, I think it sounds gorgeous. If you don't like what was on stage visually and symbolically you could shut your eyes and just appreciate the music. Yes, Adelphi/Grandage version was very sympathetic to Eva. This was a definitive version for me I loved it. And Elena Roger was sensational. SO many stories re her being below par when the production made it to Broadway though and the whole show just not being as tight. Never saw it in NYC. But this has been much said. Such a shame and no idea why as it was sensational in London. I do love the Broadway Roger/Martin CD though - the only recent recording of the whole show - such a shame for the Adelphi they just did highlights CD. Yes was a real eye opener for me seeing a quality professional production of an ALW show that music aside clearly had none of his influence running through it. I love all the RUG produced shows as they tend to be of the highest quality but for many (Cats, Starlight, Phantom, etc etc) they are all that have ever existed. Find it extraordinary that a new director can take things from a piece (that the authors may not have imagined) and convey those through staging even though the lyrics are identical. This has been seen much more for Sondheim I guess - as he has not had the long runners like ALW, his works are constantly being done again by new production teams/directors Anyway, doubt we will ever know but would love to know what ALW thinks of this new version if and when he sees it!
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Post by Stephen on Aug 4, 2019 11:07:17 GMT
Loads of pyrotechnics in Evita!? This just sounds odd. When do these happen? Evita's funeral in the opening scene and during A New Argentina (which incidentally she sings as written - and not an octave lower - for all three verses). There might have been some in Act 2 as well but can't recall where.... Are they the loud kind or the sparky quiet kind?
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Post by Deleted on Aug 4, 2019 11:10:45 GMT
Evita's funeral in the opening scene and during A New Argentina (which incidentally she sings as written - and not an octave lower - for all three verses). There might have been some in Act 2 as well but can't recall where.... Are they the loud kind or the sparky quiet kind? Ummmm can't really recall how loud they were but they didn't make people jump! They mainly came amid the loud scenes anyway like A New Argentina!
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Post by winonaforever on Aug 4, 2019 12:08:25 GMT
I'm a bit 😯 at all this! I'm going twice anyway, so I hope I don't hate it the first time. I've never seen it before (only the film) but I do like the music.
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Post by Someone in a tree on Aug 4, 2019 12:14:02 GMT
Any advice and recommendations on which is the best cast recording to listen to?
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Post by theatrefan77 on Aug 4, 2019 12:14:37 GMT
I agree that he has gone with the third option, as you would expect of him, but I also think he's failed. Maybe I'll change my mind with a second viewing next week. Also I have a problem with the extremely misogynistic view of Eva in this production. She doesn't seem to have any redeeming features and I think that's completely wrong. I love the score, although is clearly very sexist and tends to portray her mainly as a bitch, but other productions have managed to capture the human side of the character and play a bit with the saint/sinner dilemma. I appreciate what you say - and certainly in a production that often left me feeling "what on earth point are they making here," there was no subtlety in how Eva was viewed. (Though I don't think there is evidence to conclude this is misogynistic - said portrayal isn't due to her being a woman as far as we know). Would it be fair to say something about this production intrigued you and got to you though - otherwise surely you wouldn't be going back, given that OAT are accepting returns? Yes, that would be fair to say. I want to see it again. With the element of surprise gone, maybe I'll look at it differently. Evita is a favourite of mine and at worst I will still enjoy listening to it live. I will probably have to close my eyes when Peron does his Elvis Presley dance moves during I'd Be Surprisingly Good For You. I must admit that it was one of the bits which drove me mad. Nothing to do with Ektor Rivera who's a fine performer, just the way that part is directed. I guess at that moment I wasn't yet over that they have cast such a young performer as Peron, who is supposed to be 24 years older than Eva. Sorry, I'm rambling! Yes, I look forward to see it again.
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Post by Deleted on Aug 4, 2019 12:50:08 GMT
I appreciate what you say - and certainly in a production that often left me feeling "what on earth point are they making here," there was no subtlety in how Eva was viewed. (Though I don't think there is evidence to conclude this is misogynistic - said portrayal isn't due to her being a woman as far as we know). Would it be fair to say something about this production intrigued you and got to you though - otherwise surely you wouldn't be going back, given that OAT are accepting returns? Yes, that would be fair to say. I want to see it again. With the element of surprise gone, maybe I'll look at it differently. Evita is a favourite of mine and at worst I will still enjoy listening to it live. I will probably have to close my eyes when Peron does his Elvis Presley dance moves during I'd Be Surprisingly Good For You. I must admit that it was one of the bits which drove me mad. Nothing to do with Ektor Rivera who's a fine performer, just the way that part is directed. I guess at that moment I wasn't yet over that they have cast such a young performer as Peron, who is supposed to be 24 years older than Eva. Sorry, I'm rambling! Yes, I look forward to see it again. Haha, I agree Ektor was like a cute South American twink - not that I'm complaining. But certainly didn't have the gravitas Peron usually does! I assume this goes with the idea that the Eva had all the power and could eat him alive.... I didn't notice his moves in IBSGFY as was totally transfixed by the moves of the lady and the topless bloke at the back of the stage ;-) Evita also a fave of mine; but although the Grandage version is my preferred, I don't have a fixed idea on what it should look like so prob made it easier to digest. (And TBO, ANYTHING is better than the Kenwright tour - I mean Marti Pellow; what the hell were they thinking?!?!) For Cats and Starlight for example I don't think I'd cope with them being reimagined as I love the RUG versions so much. Sunset has also never been the same for me post the Adelphi.... But Evita, having been too young for the original which I know many find definitive, I am very open to different productions. Anyway, now it's me that's rambling lol. Very much looking fwd to hearing what you think of it on trip 2 :-)
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Post by Jon on Aug 4, 2019 13:07:28 GMT
I think it's better for a director and creative team to be bold and take a big swing and fail rather than play it safe. Without reinvention, you'd be left with museum pieces.
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Post by d'James on Aug 4, 2019 14:01:02 GMT
Quite a few pictures emerging on Instagram (won't post any links as I've already been a naughty boy) Gosh Che's boxers are rather tight. Not a lot left to the imagination At least DM me the hashtags to search for ;-)
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Post by juicy_but_terribly_drab on Aug 4, 2019 16:55:52 GMT
Any advice and recommendations on which is the best cast recording to listen to? I'd say the OBC. The OLC has large parts of the score missing and I much prefer the original Broadway orchestrations to the revival ones with Elena Rogers (and I think Patti LuPone's voice sounds a lot better than Elena's, even though I believe she wasn't quite as commanding as on the stage as she hadn't finished rehearsals yet or something along those lines).
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Post by scarpia on Aug 4, 2019 17:02:41 GMT
Dom - thanks for your review (and the spoiler tag with all those extra details). The thing I loved about ALW-TR collaboration (aside from Joseph) is that JCS and Evita both are incredibly classic musical scores. Even those who don't consider themselves ALW fans usually will admit to liking these two. Rice's lyrics are often so sarcastic that leaves room for interpretation and different expression that is part of the brilliance. It's why JCS as a theatre production has always struggled to be financially successful and viable on stage (at least here in the U.S.) Evita, you had Hal Prince who was able to get into the spirit of it and come up with a production that successfully walked that tight rope of Eva as Saint/Bitch. The recent revival seemed to have leaned more on the "saint" side. Eva became more of a tragic character. Not being Argentinian myself, I found myself much less moved and left the theatre thinking "so what" as Ricky Martin and Elena Rogers took their bows together. It was a great set and lighting design; the new orchestrations were fantastic. But aside from that, what makes Evita compelling is trying to figure out is this a tragic story or a musical bio-pic (which the Madonna movie also seemed to be) I'm intrigued and totally agree with you that removing these properties from ALW/TR and their influences and allowing new sets of eyes to play with them is something I'd like to see more of. I appreciate where they might come from and would worry about a complete bastardization of their work. But to allow some creatives with a good reputation and credibility to bring a new take on it, I'd love to see more of. Sorry I can't get over to UK to check this out... but can't wait to read more of all your takes Definitely a classic score. And played beautifully here by an 18 piece orchestra with an expanded strings section compared to the Adelphi. In fact it is played very classically, more like the original than the Adelphi version which made more of the Latin rhythms and beats. Sounds fabulous! Though again this as an odd decision as rest of the production so unusual, you'd have thought they might have changed the sound of the piece and the orchestrations. Anyway, I think it sounds gorgeous. If you don't like what was on stage visually and symbolically you could shut your eyes and just appreciate the music. Yes, Adelphi/Grandage version was very sympathetic to Eva. This was a definitive version for me I loved it. And Elena Roger was sensational. SO many stories re her being below par when the production made it to Broadway though and the whole show just not being as tight. Never saw it in NYC. But this has been much said. Such a shame and no idea why as it was sensational in London. I do love the Broadway Roger/Martin CD though - the only recent recording of the whole show - such a shame for the Adelphi they just did highlights CD. Yes was a real eye opener for me seeing a quality professional production of an ALW show that music aside clearly had none of his influence running through it. I love all the RUG produced shows as they tend to be of the highest quality but for many (Cats, Starlight, Phantom, etc etc) they are all that have ever existed. Find it extraordinary that a new director can take things from a piece (that the authors may not have imagined) and convey those through staging even though the lyrics are identical. This has been seen much more for Sondheim I guess - as he has not had the long runners like ALW, his works are constantly being done again by new production teams/directors Anyway, doubt we will ever know but would love to know what ALW thinks of this new version if and when he sees it! The orchestrations for the 2006/2012 revival have become the standard now, although I find they don't work when they're played by too small an orchestra. They sounded terrific at the Adelphi and somehow sounded much tinnier at the Marquis when Grandage's production transferred there. They even use the revival orchestrations (and revised script) in the Hal Prince production that is touring internationally; this is a big mistake, IMHO, because the sound doesn't gel with the hard-edged take of that production, and Larry Fuller's original choreography does not work at all with some of the rewritten bits, such as the bridge in 'Buenos Aires'. Re Grandage's production, I saw it at the Adelphi 5 times (and while I thought it was top-notch, it did admittedly seem lacklustre when Elena wasn't there) and having made a trip to Broadway to repeat the experience (saw the Grandage production twice there), I was really saddened by Elena's hostile reception on Broadway. It came down to a lot of things: nationalism (the amount of Americans who kept complaining they wanted 'one of their own' to take on the role was absurd; a different viewpoint on Evita (Eva and Perón are still thoroughly demonised in the States and regularly called 'fascists'/'dictators', which isn't strictly true); a preference to have their Evita as a diva-bitch à la LuPone; a preference to have Broadway-type voices; and too long a period of the transfer (Roger's performance in London was fiery and soulful; on Broadway it sometimes came across as mechanical and bored, and it didn't help that Ricky Martin's non-existent acting meant she had nothing to respond to, which then diminished her own performance). Part of the reason the Grandage production was more sympathetic is that Eva as portrayed in the original Broadway production (less so the original London production) was a caricature that never existed. There's a reason that production never played Argentina. The whole purpose of the Grandage production was to go down the authentic route; anyone who researches Eva Perón will find that the way she was portrayed in the American version of Prince's production was not accurate (even if it might have been thrilling for the chewing-the-scenery effect). It's a real shame they didn't tour Grandage's production in this country after the West End run; instead they used that criminal Kenwright production which should have died a death some time ago. In the absence of either Hal Prince's/Michael Grandage's production, we need a big epic production that serves this material well...but I fear Lloyd's won't be it.
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Post by Someone in a tree on Aug 4, 2019 17:45:44 GMT
Any advice and recommendations on which is the best cast recording to listen to? I'd say the OBC. The OLC has large parts of the score missing and I much prefer the original Broadway orchestrations to the revival ones with Elena Rogers (and I think Patti LuPone's voice sounds a lot better than Elena's, even though I believe she wasn't quite as commanding as on the stage as she hadn't finished rehearsals yet or something along those lines). Thanks, the OBC is the one I prefer anyway.
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Post by chernjam on Aug 5, 2019 3:42:50 GMT
Re Grandage's production, I saw it at the Adelphi 5 times (and while I thought it was top-notch, it did admittedly seem lacklustre when Elena wasn't there) and having made a trip to Broadway to repeat the experience (saw the Grandage production twice there), I was really saddened by Elena's hostile reception on Broadway. It came down to a lot of things: nationalism (the amount of Americans who kept complaining they wanted 'one of their own' to take on the role was absurd; a different viewpoint on Evita (Eva and Perón are still thoroughly demonised in the States and regularly called 'fascists'/'dictators', which isn't strictly true); a preference to have their Evita as a diva-bitch à la LuPone; a preference to have Broadway-type voices; and too long a period of the transfer (Roger's performance in London was fiery and soulful; on Broadway it sometimes came across as mechanical and bored, and it didn't help that Ricky Martin's non-existent acting meant she had nothing to respond to, which then diminished her own performance). Part of the reason the Grandage production was more sympathetic is that Eva as portrayed in the original Broadway production (less so the original London production) was a caricature that never existed. There's a reason that production never played Argentina. The whole purpose of the Grandage production was to go down the authentic route; anyone who researches Eva Perón will find that the way she was portrayed in the American version of Prince's production was not accurate (even if it might have been thrilling for the chewing-the-scenery effect). It's a real shame they didn't tour Grandage's production in this country after the West End run; instead they used that criminal Kenwright production which should have died a death some time ago. In the absence of either Hal Prince's/Michael Grandage's production, we need a big epic production that serves this material well...but I fear Lloyd's won't be it. Scarpia - interesting take on Rogers in the US. I don't know if I'd agree with the characterization of Americans wanting one of our own to take the role. Maria Friedman was warmly received in The Woman in White... I remember people being excited about having an Argentinian who was so well received in London taking the role in NY (and as one who thinks LuPone is way overrated, was hoping Rogers would erase any memories of LuPone). But I think you're spot on regarding Martin being mis-cast and making it harder for Rogers. From what I heard of his performance, people felt he was simply playing to the crowds (many Martin fans came out in droves). I specifically went to see when he wasn't on and Che was played by Max Von Essen - who was phenomenal. Rogers was good - but she was struggling vocally... which was another criticism that dodged her in her NY run. I felt badly for her and the production as a whole. Because they hung their hopes on Martin to sell it, that really re-shifted whatever focus the original production had (and yes that delay between London and NY was wayyyy too long)
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Post by Deleted on Aug 5, 2019 10:51:10 GMT
Chernjam and Scarpia - thanks so much for your posts about the Broadway version of the Grandage production. So interesting to read. As someone who was firmly in the camp of loving Elena Roger in London is good to read some of the theories of why things didn't work out for her on Broadway (which was a real shame). Odd that her voice had started to struggle as was fine in London (though I do recall even then, it's quality wasn't to everyone's taste).
I do wonder if there was more of a drive to get a 'name' for Broadway due to disappointing sales in London where there were no 'names' (which incidentally was fine by me :-)). Before it opened in London there was a poll which had concluded it was the musical most people wanted to see revived. I think they thought it would run and run. In the event it had an opening buzz but it died pretty quickly. It just about made it to a year, had a cast change and then promptly announced closing. So a relative success but not I think what the producers had hoped for. (Personally I think this is due to changing tastes and less desire for the sung through mega musicals. Miss Saigon revival was sold out for 6 months, mostly with punters who fondly remembered the original, then also fell off very quickly - I don't think it gained much of a NEW audience). Anyway, am rambling. But yes, Ricky Martin no doubt an attempt to get bums on seats for longer.
I do agree that is a great shame that the RUG/Grandage production didn't tour afterwards. In fact ALW's ambition (lack thereof) re the UK touring circuit has baffled me for a long time. They do produce tours (Cats, the Faith Brown Sunset, the Gale Edwards Aspects and JCS) but in the main he seems to leave it to others, most notably Kenwright.
I think sadly as ever the problem is financial. The awful Kenwright Evita sells out touring houses. So where is the incentive for producers to spend more? (Though Cam Mac does, as he wants to see his shows as the best version they can be - and this is a wonderful attitude I think).
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Post by Boob on Aug 5, 2019 14:44:03 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured.
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Post by richey on Aug 5, 2019 16:51:57 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand.
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Post by BurlyBeaR on Aug 5, 2019 17:18:07 GMT
I see its the same price for for many of the central seats and was just wondering whether the steps on stage will lead to neck ache if sat in row A-C. Saw it on Saturday. The set goes right down to the ground, so A to C are fine. I was in D, in fact. No neck-ache as the rise is shallow. As usual in the park you can either have the "close up" experience ( mallardo , you will want to, trust me) or go in the rear section for what I'm sure is a spectacular overview. Regarding the grass banks, the rails at the sides of the stage are thick and if you are too near the shrubbery you will be looking through them. You want to be a little back and as near the aisle as you can. Don’t leave us in suspense.... what about the show?
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Post by Deleted on Aug 5, 2019 18:24:49 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. Boob! I literally could not disagree more (though of course respect your opinion on this :-)) I do honestly think it’s longevity was curtailed by changing tastes though, whichever production you may prefer. The Kenwright version played to 3/4 empty houses at the Dominion during what was only a very limited run anyway. Also discounted and papered extensively at the Phoenix.
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Post by Deleted on Aug 5, 2019 18:26:59 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand. Disagree re Elena but no doubt many agreed with you as this was much said at the time. She polarised opinion certainly. Re hard to understand I’d find it hard to judge as know the whole thing backwards. Ditto Miss Saigon - my Dad never has a clue what they are saying!
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Post by BurlyBeaR on Aug 5, 2019 18:51:19 GMT
^Can't say until Friday. Press embargo. Boo 😟
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Post by BurlyBeaR on Aug 5, 2019 19:04:47 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. Thank god it’s not just me. If you remove Pellow from the equation and insert Gian Marco Schiaretti, Jeremy Secombe and Magdalena Alberto it was a bloody good show. But of course it’s become folklore on here to slag it off.
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Post by fiyero on Aug 5, 2019 19:35:18 GMT
Me too! An honour to have shared the theatre with such primate royalty. I purposefully avoided any news from the first preview to go in blind (as blind as you can when you've seen it 4 times previously). I could tell straight away this was different to any production of Evita I'd seen before! {My review - contains spoilers} I loved the symbolism of the confetti, balloons and pyrotechnics and that they had really tried something new. I wasn't so sure about the use of handheld microphones, especially the wired ones. Probably didn't help that I revisited Jesus Christ Superstar in the afternoon but it seems very similar. In Evita I didn't see a reason for it apart from the cutting of the cable once. I liked the development with Che near the end, though the 'violence' was more than I was expecting I like that it was challenging and not what we'd expect in a flashy musical. I wonder if they can still do that on a cold wet evening? I get that it won't be everyone's cup of tea but as someone said earlier in the thread you need to reinvent. This isn't a case of just putting a show you already know on a different stage, they have thought about it all and decided the opinion of Eva they want us to leave with.
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Post by latefortheoverture on Aug 5, 2019 20:50:07 GMT
Looking at some pics on Insta; this is definitely the Beychella edition of Evita. Can't lie it does look a little boring.... especially the tatty EVITA sign at the top. Just reminding people what they're watching just in case you forget. After last years massive little shop set, and JCS equally as large set I did expect a bit more...
I've never seen a production of it before and heard only one or two songs. Do you think this will be alright as my first intro to it??
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Post by romeo94 on Aug 5, 2019 21:24:52 GMT
How severe are the restricted views? O20 in particular...Would it be ok for someone over 6ft 4?
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Post by Stephen on Aug 5, 2019 21:59:05 GMT
I feel that I'm likely to think this is excellent simply because I am quite fond of the show but have only seen the poor Kenwright tour of it. Very excited for this.
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Post by scarpia on Aug 5, 2019 22:29:33 GMT
I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand. Disagree re Elena but no doubt many agreed with you as this was much said at the time. She polarised opinion certainly. Re hard to understand I’d find it hard to judge as know the whole thing backwards. Ditto Miss Saigon - my Dad never has a clue what they are saying! Elena Roger was certainly NOT the reason for the brevity of the London run. Variety reported that attendance got a big boost when she was on because all the reviews for her were so glowing (by contrast, attendance dropped massively on the alternate days). No ALW/RUG production has ever received as good reviews before or since. She certainly wasn't considered 'polarising' at the time - this only came when the show went to Broadway. If she had been, they would have thought twice about taking her to New York and casting her in major productions like Piaf and Passion, which she was superb in. I think a big reason is that they opened it at the wrong time. 2006 had too many musicals opening: Sunday, Wicked, Caroline or Change, Avenue Q, Cabaret, Porgy and Bess, Spamalot, Sound of Music... ...And Sound of Music was the killer because all of ALW's promotional efforts went on that, which was so annoying. Evita got barely any advanced publicity or hype. And I blame ALW for that as he's never been as interested in Evita as he should be, given that it's one of his strongest shows. Tim Rice gave up being the promo man ages ago, so it couldn't be left to him. I'd take Hal Prince's or Michael Grandage's production over Kenwright's cheap mess any day.
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Post by scarpia on Aug 5, 2019 22:40:01 GMT
I think sadly as ever the problem is financial. The awful Kenwright Evita sells out touring houses. So where is the incentive for producers to spend more? (Though Cam Mac does, as he wants to see his shows as the best version they can be - and this is a wonderful attitude I think). I used to think that about Cameron Mackintosh. But his recent decisions and continued reliance on a certain hack director to churn out substandard productions have made me reconsider.
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Post by theatremadness on Aug 5, 2019 23:56:29 GMT
The balloon dress was cut tonight for the first time apparently.
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Post by richey on Aug 6, 2019 5:47:37 GMT
The balloon dress was cut tonight for the first time apparently. yeah it looks like that. There's a video on Insta (along with several other clips) of Don't Cry For me and whilst all around have balloons Eva doesn't
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