I'm spanish and I saw EVITA by Patti Lupone in New York in 1979. I was there on holidays with my parents that night it was my 16 birthday. I will never forget it. Thank you Pa, Ma and Patti. I still have the ShowBill. Next day we went to the Manhattan Theater Club to see Nacha Guevara!!!! OMG!!!! both shows changed my life
Patti Lupone made such an overacted rol, completely false and exaggerated. Also the lyrics of Don't cry for me Argentina are completely different than the beautiful translation into Spanish, done but our great argentinian Nacha Guevara.
@@Roberto_Lopez202 Es que la versión de Nacha es insuperable, el single de Nacha salió en 1977 y aquí en España fue un éxito rotundo. En verdad la propia Nacha fue un éxito rotundo en España. Y yo su fan.
Hi, antiperonist argentinian here. Thank you for your excellent and respectful analysis. As many other argentinians, I've had a complicated relationship with the musical -separating the art from the people that inspired it isn't easy, and Evita remains a controversial figure here. Your video was very informative and well made. Thank you for sharing it!
I am Argentine as well and being admirer of the left parties of the history, I love Evita very much and think she was the best woman of our country, and that this play is not telling the truth about her. Just remember that also Ernesto Che Guevara being already a leader in Cuba admired her. He and his family always talked wery well about what Evita have done for the poor people and specially for the women's rights. Of course, who judge her belongs to the middle-high class who cannot see the poor people walking on the streets of Buenos Aires Capital such as they still do nowadays.
I'm glad you mentioned newer interpretations of the show, like Sammi Canold's. As much as I love Evita as it started out, the fact remains that it's the story of a Latin American woman filtered through the perspective of two English men. (Who were going on the only English-language biography available at the time--a very anti-Eva-biased book called The Woman With The Whip.) That's probably why it comes off as "wasn't Eva horrible for using her body to get ahead?", while interpretations like Sammi Canold's lean more into, "wasn't Argentine society horrible for leaving an intelligent and ambitious woman with no options BUT to use her body to get ahead?"
I´m from Argentina, ...When everyone talk about that iconic speach in the balcony of the Casa Rosada the fact is, in real life, she never did taht speach in the Casa Rosada. That last speach before she died was in another building in the 9 de Julio Av. Andrew Lloyd Weber thought that was better moved that speah to Casa Rosada.
I have rediscovered the Original EVITA White Album after more than 40 years, and while I admit that back then, I considered the Original American Recording the definitive and superior version and the White Album just an early experiment, now I am completely and absolutely blown away by Colm Wilkinson as Che! I also truly appreciate hearing the early lyrical incarnations and orchestrations before they evolved into the EVITA that Hal Prince eventually brought to Broadway. I saw the Original Broadway Production of EVITA with Derin Altay as Eva, a week after Patti LuPone had left the show. I knew what I was missing, but nonetheless, it was the most dazzling stage craft I have ever experienced to this day. EVITA marked a distinct pinnacle for Weber and Rice, and its brilliance would never again be creatively matched or realized by either of them in future endeavors. It is their Masterpiece. Patti LuPone will always be the ultimate Eva for me. She just nails every moment and every note on the American Cast Recording, but she also gives us a virtual acting performance. She actually acts the role in tandem with her powerhouse vocal abilities. What sets Patti LuPone apart from all the other Evas, then and since, is the fact that yes, she is a magnificent and dynamic singer, and yes, a great dancer in her day, but hands down, without question, she is the superior actress to all of them. That's why no one will ever be able to touch Patti LuPone's performance in EVITA. It is one for the ages.
I wholeheartedly agree. Patti added so many brilliant touches. Let's not forget that she didn't just play the role as written, she created a distinct interpretation of Eva. She was the first and only one to play Eva with a "twinkle in her eye," meaning she'd hint via strategic expressions, turns of phrases, and intonation and of course the many dramatic poses she'd use throughout, that this woman Evita knew exactly what she was doing and the monster within was calculating as much as she was glamorous. Who can forget her taking the famous Elaine Paige pose of her upper arms parallel to the floor and her lower arms pointed up vertically and making her own. LuPone has said she rebelled against the production team trying to get her to imitate Paige's pose. So she came up with her own and she didn't just change the pose but the entire meaning behind it to suggest Eva as being a sort of Christ-like figure in the way she sold herself and in the way her descamisados perceived her. She breathtakingly goes from doing a V-shaped arm pose to immediately morphing into a distinct Jesus on the cross pose. You don't get that from her specifically because Patti brilliantly makes it vague enough to only help color the perceived nature of the character. I didn't really see it as a Christ-like pose until she confirmed that was her intention in several interviews years later. Suddenly, a powerful moment had a clear meaning and it's just one of the brilliant nuances Patti infused the role with. I love Patti so much. Her performances have touched me so much over the years. She's like an old friend that I've never met!
I actually think the phrase "don't cry for me, Argentina" makes sense in the main context of the song we know best...I interpret the phrase as Eva saying, "Even if I have left the working class behind to become First Lady, don't mourn me as though I've abandoned you...I'm still one of you."
When "Evita" came to Los Angeles, my parents had to get tickets a year in advance, that's how hot this show was. I had the Broadway cast album with LuPone and Patinkin and had the entire score memorized. I never thought of Eva Peron as a sympathetic figure. Thank you for such an in depth look at this show!
Tim Rice helped me a lot learning English vocabulary.. "Although she's dressed up to the nines at sixes and sevens with you".. And I will always be grateful to Sir Tim for his unparalleled help 🌟 I think I learnt more English going to Musicals than going to the English language School 🎉
@@samcruse9435oh, it's just great.. You are doing my"homework".. But the other way around 😜 Keep on learning Spanish (I'm still learning English).. And enjoy the Spanish Evita Version!!.. And "no llores por mi Argentina" 🏆
I had such a deep connection with Evita, England & Argentina. This documentary really inspired me to work for an international airline & ultimately spending 10 years off and on living in Buenos Aires, Argentina.
I’ve been watching “Santa Evita” on Hulu-a show created by an Argentinian studio. Judging by their depiction of Evita, the issue is that she was relentless. She was like an attack dog-once she latched onto something, she would never let go. Whether it was Juan Peron himself, or women’s suffrage, or helping anyone she could with her foundation, she wouldn’t stop until she got what she wanted. She was fiercely loyal to whatever she latched onto.
Evita has a special place in my heart because it was the second musical I became obsessed with (1st one being Cats), when I was 7 or 8 years old. My fascination with the figure of Evita Perón also spurred my interest in history and politics which now make me notice some of the show's inaccuracies.
The musical repeatedly questions the "democracy" of Argentina. At the same time, language of being "elected" is -- rather cynically -- placed in the mouths of historical figures who publicly represented themselves as such: • "It's annoying that we have to fight elections for our cause. The inconvenience -- having to get a majority. If normal methods of persuasion fail to win us applause, there are other ways of establishing authority. We have ways of making you vote for us, or at least of making you abstain." (Peron/Secret Police, "A New Argentina") • "How can you claim you're our savior, when those who oppose you are stepped on or cut up or simply disappear?" (Che, "Waltz for Eva and Che") • "La Prensa, one of the few newspapers which dares to oppose Peronism, has been silenced, as have all other reasonable voices!" (Che, "She Is a Diamond") If I thought for more than 12 seconds, I could probably produce more examples. The musical never makes a factual claim that Peron was legitimately elected, and strongly implies he was not.
You absolutely earned a sub for this. I can't wait to see you tackle the nightmare of Sunset Boulevard, being easily one of my favorite flawed works ever.
Patti should've played Evita in the film, AND she should've played Norma Desmond in the Sunset Boulevard musical. Patti had the voice and the movie-star looks to play Norma. Norma is unjustly portrayed as a grotesque in horrific makeup in some of the musical versions.
For the film. Ken Russell was being shopped, ( he directed Tommy). But he didn't like the lead they considered. Ann-Margret had aged out of the role, and wasn't one to blow people away with her voice. Who was the studios choice in 75? Meryl, Cher , Rachel, Bette, Berndog? Am was the most box office after getting an Oscar nod for Tommy.
Thank you for uploading this on the day I saw my first production of Evita. Absolutely loved it. One thing I'll share is that during "Dont Cry for Me Argentina" I did shed a tear as she walked to the microphone as I was so taken in by the beauty. And then I had one following thought.." oh my God, I'm falling for it like everyone else". Glad my instinct was right hahaha
What a WONDERFUL episode!!! I learned the real intention of my favorite "Don’t Cry for Me Argentina”. Which has blown me away. If I ever sing that song again, and I will, I have a WHOLE different perspective to work with because of this wonderful, wonderful episode!! Keep up the good work!❤❤❤❤❤❤❤
Really excellent episode. Incredible amount of work. When I was 20- 21 in 1976/77, I discovered the original album. At that age, at that time, any depth about the politics of Evita, escaped my consciousness. I remember in my apartment in West Hollywood blasting, "The Lady's got potential', until I got complaints from the neighbors. When Patti LuPone came to the LA production, I was fortunate enough to see Patti Lupone in it. However, I honestly always liked the OG album better than all versions. When the movie came out I waited several months (right before they would pull it)to see in in Suburban Santa Rosa, at the Airport 8....small screen. Why did Madonna "speak" the speech, instead of singing, on the Casa Rosada, after DCMA? Who's decision was that? Isn't Evita a Rock Opera? It left me feeling a little unsettled. It was better than I could have imagined though. Again I really enjoyed how thorough your episode is.
I saw Elaine Paige in the London production. I walked away thinking there were two great songs -- High Flying Adored and Another Suitcase. The staging of Dangerous Jade stuck with me, too. I later heard the concept album which really made me sit up. Covington's voice has a dryness to it that I think produces the Brechtian distance Prince talked about.
"Evita" is probably my favorite musical and I was able to catch Loni Ackerman filling the role on Broadway before it closed. I had the extreme honor of directing it about fifteen years ago and, as tumultuous as it was, would do it again at the drop of a hat ... provided I knew there was at least one actress out there capable of the task. I've seen too many productions that have fallen woefully short of doing it justice. I'm not a fan of Elaine Paige's talent, though she was impressive in "Piaf," and Madonna ... my stomach just does flips when I recall her saying, "No one can do it but me." Awful. No, LuPone set the bar and I have yet to see anyone come close. That aside, I, too, obsessively researched the actual Eva Peron and was left just about as bewildered as everyone else, including this narrator.
I can still remember the TV commercials for "Ev8ta", and a tag line from them lives with me to this day, that they (the Argentines) were so mesmerized and entertained ."..,,...that nobody noticed that she simply seduced a nation!" Something to keep in mind today!
Saw it in London in 1985. The scene that stands out the most is "The Art of the Possible" with the musical chairs and generals; I thought that was a brilliant piece of theater and a demonstration of how less can be a _lot_ more. I didn't know enough about musicals at the time to make note of who was in the title role, but I'm fairly sure it wasn't Elaine Paige by then.
Yeah I saw a community theater showing of the show and I agreed. It was a great way to stage it. Some audience members even laughed at the humor of it but it got the message across.
I love this! Already watched it twice. So much info here. Thank you for all your hard work and research. This is the most thorough look at the creation of a musical I've ever seen. Love all the photos and videos of the original casts. Love this channel.
I was in college preparing to play a part for this show in the school orchestra. I listened to the Broadway recording about a hundred times. It was such an interesting story and Mandy Patinkin was oustanding. It really got me interested in musical theatre in a big way.
That was such an informative and nuanced video about my favourite musical, actually my only favourite musical, that it's quite hard for me to say how much I appreciate the work that you've done. Thank you once again!
You just explained to me my own experience with Evita, which I saw in a Chicago production that both thrilled me and turned me off. I've never quite understood my feelings about it but I think Jesse Green's review hits the mark exactly for me. Thank you for all the information, insight, and honest thought process that you obviously put into this video. You just earned my 'sub'. Can't wait to watch more of your content!
As an original cast member in both the London & Broadway versions, I found this intensely interesting. Thank you for it. But I do have a question. After all the wonderful coverage of Elaine and Patti, I wondered why you didn't mention that it was in the papers that Hal had wanted to fire both of them. In London it was in the Observer, the week before we opened entitled, The Che & Eva show. The journalists had followed us through the rehearsal process and interviewed pretty much however they wanted. Apparently Hal wanted to bring Bonnie in but Tim & Andrew said no. And in LA it was in Suzi's New York column. In both cities we had emergency company meetings full of tears with Hal having to build up his actresses and assure the casts that he was now firmly behind his leading ladies, that they had improved dramatically etc. In London it was unfortunate, but when Peppi and I were again at such a meeting in LA we sort of wondered. Was there manipulation here? I would love to get your take on this. PS: Elaine and Patti were wonderful to work with. At least that was my personal experience. As were Susannah and Terri.
Hi John! Thank you so much for the kind words and sharing this. I did read in Patti's memoir that Stigwood apparently wanted to fire her out of town, but I had no idea Elaine was in talks to be fired. Compared to Patti for sure, at least for me, Elaine's account of that time is rather calculated. As for why I didn't address those things... I decided not to focus too long on some of the backstage things that (based on the research I had access to) are speculative. One source who was there at least alluded to it in my talks with them but I still didn't want to draw much focus on it. Also, a lot of these archived news items are behind crazy paywalls. For context: I'm a Canadian often reporting on Broadway and New York. Given Evita's origins are distinctly British, I wanted more from items from that side and the episode was the first time i subscribed to The Times of London/Sunday Times to get some coverage of West End Evita. Still, based on my time using the site, I got the impression I didn't have access to everything... I would feel you would have a way more informed sense of the press manipulation at the time. Gleaning from what I've read, Stiwgood (something of showman producer) seemed to whip up the press and, based on something alluded to ALW's memoir, operated on the standard of any press is good press. That being said, ALW gets facts wrong in his in account of that time which makes reporting things even harder. Patti suggested Hal had something to do with the publicity/drama,... (Admission: I got some Peron history wrong after publication and have since cut it out.) It's fun and daunting getting all these accounts together. Thanks for watching! X
@@StagedRight Very impressed to receive a response so quickly. Don't even know if I expected one at all. The two experiences, London & Broadway were so different almost schizophrenic in mood and atmosphere, and because of you all those memories are bubbling back up to the surface. If you would like the observer article for your files, I definitely have it and could scan it for you next week when I return home. I might even have the Suzi column. Just for your own files if you are still interested. Once again thanks for the great work.
Had a rather trippy moment of wondering why my friend from music camp's mum was on this, only to discover that she's theatre famous! They kept that quiet 😮 hey Mrs Fellows 👋😂
Julie Covington is an intriguing figure in musical theatre, such a beautiful voice. I don't know why she wasn't featured in the original london cast recording of Rocky Horror, perhaps that's also an interesting story. She's also the only person who I believe is able to successfully cover a Kate Bush song, The Kick Inside.
In my humble opinion, the concept album is better than the stage show. Julie Covington has such a vulnerability in her voice and of course the almighty Colm Wilkinson.
Julie was accidentally thrown off stage during a performance of The Rocky Horror Show and had to be hospitalised. She chose not to return to the show which was still in its infancy, instead joining a production of Antony and Cleopatra. Belinda Sinclair, her replacement in Rocky, thus appeared on the cast album. Such a shame as Julie Covington has a wonderful voice, would have worked wonders with the Rocky songs and to this day, in my opinion, is the best Eva Peron, albeit on record.
Having been totally unfamiliar with the original album before working on this episode, I have grown quite fond of Julie’s performance and the overall album, with certain moments becoming my preferred interpretations over the other recordings of the work. How thrilling it must have been hearing it for the first time without any previous reference.
@JoeyArmstrong2800 wholeheartedly agree with you. The stage show is another person's representation of the story, with the limitations of budgets, costume changes, etc. Wheras one's imagination is generated from an entirely personal interaction with the album. Covington's Evita has a purity of voice and projects a vulnerability, but Paige is softer and has more richness to it which takes the edge of any vulnerability she tries to project in this role.
There are a number of conflicting reports (even by Rice himself) as to whether Che was intended to be staged as Guevara (even though the character's concept album story was based on him) but it was Prince who insisted on the revolutionary image. The UK has had a number of revivals of Evita over the years, one of the more recent directed by Jamie Lloyd. Of course, the first West End revival (2006) was quite different to Prince's original and very definitely had Che as an everyman (this revival made it to Broadway in 2012). You appear to have some contacts so I look forward to how you deal with Chess 😉
Absolutely brilliant work you have done! Thank you. Takes me back to 9th grade in political science class where I was introduced to Eva Peron. Was always fascinated by the story and the musical, then and now.
Than you Max for this promotion of Argentina and EVITA,for millons our emblematic national hero,.you had made another show with this "back stage"..Evita and our Elena Roger for ever!
I truly love that description of Eva as an "illegitimate whore". That could have been the driving force in her life to be recognized and accepted by the upper crust elite and I truly admire Eva for her determination to climb the social ladder. However how much she tried, she never reached ir. To quote someone from that social stratum, "You will never become one of us." How tragic.
@@NUBF Kevin is a treasure and would love that you pick up the sass that he throws down! Eva Peron might feel a little humourless about it though....His videos always make me feel so happy.
@@kc-lp6wg lol thanks! And I so know what you mean. I am such a lover of knowledge and watching this channel I find myself enjoying not just the amount of labor and research that goes in to making these, but also the respect and kindness of Kevin’s lens. Combine it with music and interesting personalities, and StagedRight is a balm to my soul 💕
I admire Julie Covington's integrity. She's a strange historical figure to base a musical on. I still struggle to understand what they were trying to do.
I don't watch musicals, I don't go to the theatre, I don't like the performing arts and rarely do I like the people who love or work in the performing arts, but for some reason, I watch so many YT videos about classic movies and theatre stuff. Just so interesting somehow :D
IMHO, it was the television advertising campaign that really sold this play and made it (and Patti Lupone) such a huge success. Who could ever forget the shot of Patti Lupone singing "Don't Cry For Me Argentina" on the balcony of the Casa Rosado? Or remember anything more about the spot other than that particular shot? Elaine Paige, who? That image was emblazoned in the minds of many and it was definitely money well spent! On another note... which was probably never even considered or would have never happened given the times (or she couldn't sing it), but... I always wondered what and how Diana Ross (in her prime) could have done with that one shot for her career and the notoriety of the show. I mean... if nothing else, Ross can surely wear a ball gown and bring the regalness and gravitas required of that moment.
AMAZING VIDEO!!! I just finished directing this musical and this video is a great teaching tool to show my students!! thank you so much for making this!
I really appreciate this deep dive into Evita. However I feel like the musical itself doesn't really add up to much. A couple of show stoppers and it's over. What is it trying to say, if anything, about Eva Peron?
@@peterroberts6933 To me it's not there up on the stage though. Even some of the music I find questionable. I find people project onto Evita because they already know it inside and out. Without "Don't Cry for Me Argentina", the musical falls flat on its face. I really want to like Evita but it doesn't commit and feels like a copout.
@@JoeyArmstrong2800 It's in every line of the show and every note. It's about sexual politics, image over substance, the dangers of attractive fascism, ambition...these characters represent rather than live, sure, but it's an adult musical with adult themes. And to say that one song is good or meaningful means you really haven't listened to it properly.
@@kevinwilson3609I don't buy the whole "Cinderella" story thing because it's just not very compelling. To me it hits upon everything you listed but it all seems half-baked. Juan and Eva Peron were right-wing tyrants. I wish it was up on the stage.
I love your video, especially your statement that we should still be aware of the warnings shared through the musical. I'm a Filipino and I do see similarities between the Perons and the Marcoses. This is why I was shocked that the son of former president Marcos is now the current president of the Philippines. Theater, like any other forms of literature, can sadly be used as propaganda for certain groups, the purpose to glorify and to change the narrative. I hope people would understand that even though these people did do good things, they still committed atrocious acts. "Humanizing" a contentious figure is such a complex subject, a double-edged sword.
I'd like you to know what "atrocious acts" were commited during the Peron governments, according to your sources. It's said Marcos was responsible of the deads of 100.000 filipinos, nothing like that happened during Peron's tenure. It's obvious you ignore Argentine history.
I Saw Patty LuPone twice in her LA run...The first was a Saturday Matinee. Then I saw it right before it was leaving LA. She was really good. But the first performance I couldn't get over how different it was from the album, and Julie Covington. Especially except for the album, During "On The Balcony of the Casa Rosada", she sings her speech like an opera, but the PL version was spoken on pitch, instead. It threw me for a loop the first time I saw it, but It was incredible. I noticed that Elain Paige was singing the speech. I'll have to revisit that cast album. Very Very Good, Incredibly thorough documentary film. Thank you so much.
Having loved the musical when it first appeared on vinyl and as also a lover of Rock Follies I was over the moon when I heard Julie Covington would perform in Evita in Sydney. Being a Melbournite a trip was planned and tickets were bought. In the end I don’t think she even came to Australia….
I love it, too. I don't care what anyone says, Madonna's star quality ( no pun intended!) brought so much to the powerful performance that Evita needed. Madonna has the charisma and talent to convey Evita's stature and controversial history. She also lost her mother from cancer very young and brought humanity to the role, something Evita would never let the Argentine people see. She was magnificent and was the perfect choice. Whilst there's always going to be bigger vocalists, that doesn't mean they have the screen presence or the ability to put on a show like Madonna!!
@mipmipmipmipmip depends on the condition… there a lot of beat up ones missing the libretto. Those are like $10. Min was perfectly mint and maybe about $27 all said don’t with shipping and all that
You do these soooo well, you’re so inspiring! Watched it several times already and having you tell me about Eva, her legacy and the making of the musical makes it almost ok that I was embarrassingly unaware of “Evita” before. And your Spanish pronunciation is great! 😁 thank you thank you thank you for the hours you put into this, it’s a labor of love and it really shows. Yay StagedRight! 🩵🩵
I am Argentine by birth. My mom, dad and I migrated from Buenos Aires to the USA in 1964, almost 2.5 months after The Beatles first visit and 5 months after President Kennedy's assassination, quite a turbulent time. I was 7. Although Argentina is a democracy and political unrest is a daily given, we'd migrated for economic reasons. The cost of living in Bs. As. was skyrocketing and jobs and living quarters were increasingly hard to find. The Paris of South America was going thru a growth spurt. My mom had told me quite a bit about Evita and Peronists as she'd lived thru this in her late teens and early twenties. She wasn't into politics but her father was and many of his friends were always in discussions around her while growing up. She didn't like the woman and she didn't like Peron and avoided any discussion like the plague. It was very dangerous to express any criticism. Evita indeed had the nation entirely fooled and people followed her blindly. It seemed to me that it was like the early days of Hitler (or any leader of that sort) who creates such a frenzy that it's hard for anyone to stay cool and get perspective. Hence "The crowd is fickle, it can be manipulated." . Imagine, years later, finding out a musical had been written about this complex and intriguing woman. Well, we both loved it! All in all, it is just a very broad sketch, but then how much can one capture in two hours? Of course, I'm lucky having all this "insider" information so I can fill in the blanks without even trying. I never did much research on my native country after we came but then the internet didn't exist and barely any info about Argentina til recently. Even now it's difficult to find. For all the critics that point out it isn't telling us the whole story, it makes Evita too sympathetic, etc. all I can say is take from the musical what you can. It's a story of a person/woman at a certain time in history. Put yourself in her place and see what you learn. As a theater and film lover, I thoroughly enjoyed your video and think you did an exemplary job. I'll only add one thing that wasn't emphasized and that is the lengthy love-hate relationship between Argentina and Britain. This may have had something to do with how it was received by the British and a lot by how it wasn't received in Argentina. As for me, although I've lived in USA for almost 60 years and am a naturalized citizen, "Don't Cry For Me Argentina" takes on an entirely different meaning...the streets of Buenos Aires will always be mine and Argentina forever my home. Thank you for this lovely video!
Great content as usual 👏🏼 just want to add that I would love it if you were to cover the life and career of Elaine Paige in one of your videos. I feel sometimes she can be somewhat overlooked compared to her broadway peers. Probably due to her mostly being a West End star. She was truly a trailblazer in musical theatre and a powerhouse talent- both as a singer and actor. As well-researched and well-edited as your videos are, I’m certain it would make for great viewing!
For Cannold's version, they play a documentary in the lobby with an extrnded interview with Evita's nurse. It was very fascinating to see her perspective.
Perón wasn't a dictator, he was democratically elected president every single time. He was participant in a dictatorship, and he wasn't shy In using his support group against his enemies, but still, once elected president, he stride for a just democracy. But don let it be misunderstood, everyone in power supports democracy, if it's of benefit to them, independently of which country they from. It's the same for every system of power, no one that holds power in for example Saudi Arabia sees a full democracy as a good change, their continuation of power is guaranteed in that system. There's a balance between those in power and those who are not, it's a matter of who in power hold the support of the other. Change can only be achieved when a conflictive group, in the population, has no support for those who are in power. Greetings form Argentina by the way 🇦🇷 👋
I smell a Kirchner supporter. (Or should I say her puppet Massa?) You know that voting for these clowns is like 90% the reason your economy is in the toilet and the Blue Dollar is now 1000 pesos, right? Peronism = death. Always has. Always will. Wake up.
This entirely missed a little nuance about Evita's album launch in 1976 and the London opening in June 1978 - the fact that this was also the time of the FIFA Football World Cup (soccer) being held in Argentina. When the album/single were released in Nov 1976 the qualification competitions were already under way. Thus there was a real interest about Argentina being built up within the British public. The show's opening in June 1978 was in the middle of the World Cup down in Argentina, which ran from 1st - 15th June. I don't know if this juxtaposition was deliberate or pure serendipity, being a total cynic I am inclined to lean toward the former - though I am entirely without anything other than a reliance upon my own gut call here.
My friend Chris Lloyd Pack was Company Manager on the original - his brother Roger was in the beloved sitcom ONLY FOOLS AND HORSES. Their Father was Charles Lloyd Pack a great character actor. Our friend the late Ant Bowles was the original Musical Director and I’m pretty sure was the orchestral arranger. I was therefore very lucky enough to see it from vantage points on the stage and audience. Hal Prince kept a tight grip on the discipline of the show and would dive in unannounced on a matinee for instance. There are many backstage stories on this show and Chris required the tact and skills of a diplomat in delivering the notes. Even pop star Kathy Kirby apparently auditioned. Our MISSING PIECES company choreographer Richard Marcel choreographed for MADONNA in the movie … even more tact required!
Che Guevara screaming about his insecticide (cut from the musical production, but on the concept album) was a rather odd choice that we are probably better off without.
Patti said she was miserable through the Evita run, that she felt like she was screaming more than singing through this role. It is vocally difficult. When I sing along, I don't power belt, stay classical, because I don't want to damage my voice.
Many thanks for this interesting and in-depth analysis. I would have liked an honorable mention for Broadway veteran Florence Lacey, who holds the record for the most performances of ‘Evita’, including the 1989-90 European Tour.
I knew Miss Lapone because my very dear friend and former roommate while living in NYC back in the 90's was a dresser and wardrobe supervisor on several of Miss Lapone shows, the last was Noices Off which I saw and assume didn't like because I remember nothing about it. Miss Lapone and my dear friend worked at the Broadway Cares charities together and so they knew each other well and I was in the company of Miss Lupone several tjmes. A couple years later she came to my home town Buffalo NY to perform with the Buffalo Philharmonic in one of her supposed favorite concert venues Kleinhans Music Hall. My Lupone obsessed gay friends dragged me to see her and had to since they paid for my ticket. After waking me up when the concert was over they stalked the back stage door for her to emerge. She of course talked to everyone which is something a lot of stars of her caliber don't do. I approached her with the thought she'd immediately recognize me and throw me a hug. But she didn't. "Who?" I reminded her after a couple of names I threw her and situations as a reminder and she barely remembered. She looked at me with a blank stare. Now I'm someone they Elaine Stritch remembererd 2 years after meeting her so the Lupone snub was unforgivable! Lol
If you want to create your true version of Evita, I strongly suggest your reading EVITA by Argentinean historian Felipe Pigna. He tells the true story of this incredibly sensitive and passionate woman who actually look in the eyes of the working class, the poor and the miserable
yup, the sensitive woman who screwed over the poor. Ripped off the rich while padding her personal bank accounts. She was a corrupt unethical woman. She couldn't care less or give one shit about the poor and man in the nation were left penniless and poor by her influence over nationalal politics. The Country was almost bankrupted. You might want to actually research the facts versus your fairy tale interpretation.
The show was written where they knew little about Eva. It's easy to look back and critise it. At the end of the day it's a musical inspired by something It's a great show xxx
I wish you had mentioned the recent Evita production that was boycotted as the director refused to cast Latino actors in the roles. Because of that boycott a lot of Evita productions (including the 2019 one you mentioned) have finally cast Latino actors in the roles to avoid bad publicity. Evita is the only musical with an Argentine/Hispanic woman at the center. The late 90s revival (which wanted to cash in on the Latin-English crossover of the 90s) that unfortunately failed to make it to Broadway was the first production to see Evita as a Latin American show with Latin American people rather than by 2 UK men. And a bunch of people still call that production a masterpiece! Elena Roger faced a lot of flack because of her accent even though that’s literally what Eva would’ve sounded like. It was also nice to finally not have a gringa who couldn’t pronounce “Buenos Aires” correctly.
yes, lets' focus on something that is irrelevant in musical theater for authenticity. Better than someone fits the ethinic bill rather than being able to sing the part as it's written. People like you are why shows close quickly and people stop going. For example the stunt casting in the Notebook by having people of different races playing the same character as they age. The audience is confused and it makes no sense. We all appreciate your woke attempt at virtue signaling for everyone to know how progressive and trendy you are.
Wait, Tovah Feldshuh auditioned for Eva in New York?! She’s great, one of my favorite character actresses. I had no idea she could sing at that level. I would have loved to see her in the part.
I love Tovah! Her recent Rose Brice in Funny Girl was wonderful. However I've seen a clip of her as Mama Rose in Gypsy...she could never have sung Evita as written. She also played Yentl on stage. Wish I'd seen that pre-Barbra non-singing stage drama.
I think Andrew Lloyd Weber was inspired by the rock opera, Tommy the Movie , that came out in 1975. Its star Ann - Margret is the center of the show and has the passion and wardrobe of Eva Peron.
As a 50 year friend of Ms. Klausner and having seeing both she and Ms. Lupone in the role of Eva, I suggest you pose the following question to Ms Lupone: why did you slap Ms. Klausner across the face backstage one night for having the nerve to receive a good notice?
A great video. However it is a great pity the London 2019 reimagining by Jamie Lloyd is not referred to. A more radical take on the show than the Cannold version
I enjoyed the movie, but having seen it with Lupone on Broadway, I came to the conclusion that Madonna's voice couldn't really handle the part. Certainly not "8 shows a week, 2 matinee". I found the more technical information and her character intention informative and interesting, but that leads me to the idea that Madonna WANTED the part and offered up the interpretation as a fig leaf to her actually knowing her voice couldn't handle it
I'm spanish and I saw EVITA by Patti Lupone in New York in 1979. I was there on holidays with my parents that night it was my 16 birthday. I will never forget it. Thank you Pa, Ma and Patti. I still have the ShowBill. Next day we went to the Manhattan Theater Club to see Nacha Guevara!!!! OMG!!!! both shows changed my life
Patti Lupone made such an overacted rol, completely false and exaggerated. Also the lyrics of Don't cry for me Argentina are completely different than the beautiful translation into Spanish, done but our great argentinian Nacha Guevara.
@@Roberto_Lopez202 Es que la versión de Nacha es insuperable, el single de Nacha salió en 1977 y aquí en España fue un éxito rotundo. En verdad la propia Nacha fue un éxito rotundo en España. Y yo su fan.
Hi, antiperonist argentinian here. Thank you for your excellent and respectful analysis. As many other argentinians, I've had a complicated relationship with the musical -separating the art from the people that inspired it isn't easy, and Evita remains a controversial figure here. Your video was very informative and well made. Thank you for sharing it!
I am Argentine as well and being admirer of the left parties of the history, I love Evita very much and think she was the best woman of our country, and that this play is not telling the truth about her. Just remember that also Ernesto Che Guevara being already a leader in Cuba admired her. He and his family always talked wery well about what Evita have done for the poor people and specially for the women's rights. Of course, who judge her belongs to the middle-high class who cannot see the poor people walking on the streets of Buenos Aires Capital such as they still do nowadays.
I'm glad you mentioned newer interpretations of the show, like Sammi Canold's. As much as I love Evita as it started out, the fact remains that it's the story of a Latin American woman filtered through the perspective of two English men. (Who were going on the only English-language biography available at the time--a very anti-Eva-biased book called The Woman With The Whip.) That's probably why it comes off as "wasn't Eva horrible for using her body to get ahead?", while interpretations like Sammi Canold's lean more into, "wasn't Argentine society horrible for leaving an intelligent and ambitious woman with no options BUT to use her body to get ahead?"
I´m from Argentina, ...When everyone talk about that iconic speach in the balcony of the Casa Rosada the fact is, in real life, she never did taht speach in the Casa Rosada. That last speach before she died was in another building in the 9 de Julio Av. Andrew Lloyd Weber thought that was better moved that speah to Casa Rosada.
I have rediscovered the Original EVITA White Album after more than 40 years, and while I admit that back then, I considered the Original American Recording the definitive and superior version and the White Album just an early experiment, now I am completely and absolutely blown away by Colm Wilkinson as Che! I also truly appreciate hearing the early lyrical incarnations and orchestrations before they evolved into the EVITA that Hal Prince eventually brought to Broadway.
I saw the Original Broadway Production of EVITA with Derin Altay as Eva, a week after Patti LuPone had left the show. I knew what I was missing, but nonetheless, it was the most dazzling stage craft I have ever experienced to this day. EVITA marked a distinct pinnacle for Weber and Rice, and its brilliance would never again be creatively matched or realized by either of them in future endeavors. It is their Masterpiece.
Patti LuPone will always be the ultimate Eva for me. She just nails every moment and every note on the American Cast Recording, but she also gives us a virtual acting performance. She actually acts the role in tandem with her powerhouse vocal abilities. What sets Patti LuPone apart from all the other Evas, then and since, is the fact that yes, she is a magnificent and dynamic singer, and yes, a great dancer in her day, but hands down, without question, she is the superior actress to all of them. That's why no one will ever be able to touch Patti LuPone's performance in EVITA. It is one for the ages.
I wholeheartedly agree. Patti added so many brilliant touches. Let's not forget that she didn't just play the role as written, she created a distinct interpretation of Eva. She was the first and only one to play Eva with a "twinkle in her eye," meaning she'd hint via strategic expressions, turns of phrases, and intonation and of course the many dramatic poses she'd use throughout, that this woman Evita knew exactly what she was doing and the monster within was calculating as much as she was glamorous. Who can forget her taking the famous Elaine Paige pose of her upper arms parallel to the floor and her lower arms pointed up vertically and making her own. LuPone has said she rebelled against the production team trying to get her to imitate Paige's pose. So she came up with her own and she didn't just change the pose but the entire meaning behind it to suggest Eva as being a sort of Christ-like figure in the way she sold herself and in the way her descamisados perceived her. She breathtakingly goes from doing a V-shaped arm pose to immediately morphing into a distinct Jesus on the cross pose. You don't get that from her specifically because Patti brilliantly makes it vague enough to only help color the perceived nature of the character. I didn't really see it as a Christ-like pose until she confirmed that was her intention in several interviews years later. Suddenly, a powerful moment had a clear meaning and it's just one of the brilliant nuances Patti infused the role with. I love Patti so much. Her performances have touched me so much over the years. She's like an old friend that I've never met!
I actually think the phrase "don't cry for me, Argentina" makes sense in the main context of the song we know best...I interpret the phrase as Eva saying, "Even if I have left the working class behind to become First Lady, don't mourn me as though I've abandoned you...I'm still one of you."
When "Evita" came to Los Angeles, my parents had to get tickets a year in advance, that's how hot this show was. I had the Broadway cast album with LuPone and Patinkin and had the entire score memorized. I never thought of Eva Peron as a sympathetic figure. Thank you for such an in depth look at this show!
Tim Rice helped me a lot learning English vocabulary.. "Although she's dressed up to the nines at sixes and sevens with you".. And I will always be grateful to Sir Tim for his unparalleled help 🌟 I think I learnt more English going to Musicals than going to the English language School 🎉
And I've just discovered the Patxi Andión and Paloma San Basilio versión in Spanish. It's definitely helping me with vocabulary.
@@samcruse9435oh, it's just great.. You are doing my"homework".. But the other way around 😜 Keep on learning Spanish (I'm still learning English).. And enjoy the Spanish Evita Version!!.. And "no llores por mi Argentina" 🏆
Hope you do a video about Colm Wilkinson. That guy seems like his life is a story waiting to be told
I had such a deep connection with Evita, England & Argentina. This documentary really inspired me to work for an international airline & ultimately spending 10 years off and on living in Buenos Aires, Argentina.
Hope that you enjoyed my country:)
I’ve been watching “Santa Evita” on Hulu-a show created by an Argentinian studio. Judging by their depiction of Evita, the issue is that she was relentless. She was like an attack dog-once she latched onto something, she would never let go. Whether it was Juan Peron himself, or women’s suffrage, or helping anyone she could with her foundation, she wouldn’t stop until she got what she wanted. She was fiercely loyal to whatever she latched onto.
Evita has a special place in my heart because it was the second musical I became obsessed with (1st one being Cats), when I was 7 or 8 years old. My fascination with the figure of Evita Perón also spurred my interest in history and politics which now make me notice some of the show's inaccuracies.
the show has nothing to do with real history, starting Peron wasn;t a dictator but three times democratic elected presideent
The musical repeatedly questions the "democracy" of Argentina. At the same time, language of being "elected" is -- rather cynically -- placed in the mouths of historical figures who publicly represented themselves as such:
• "It's annoying that we have to fight elections for our cause. The inconvenience -- having to get a majority. If normal methods of persuasion fail to win us applause, there are other ways of establishing authority. We have ways of making you vote for us, or at least of making you abstain." (Peron/Secret Police, "A New Argentina")
• "How can you claim you're our savior, when those who oppose you are stepped on or cut up or simply disappear?" (Che, "Waltz for Eva and Che")
• "La Prensa, one of the few newspapers which dares to oppose Peronism, has been silenced, as have all other reasonable voices!" (Che, "She Is a Diamond")
If I thought for more than 12 seconds, I could probably produce more examples.
The musical never makes a factual claim that Peron was legitimately elected, and strongly implies he was not.
You absolutely earned a sub for this. I can't wait to see you tackle the nightmare of Sunset Boulevard, being easily one of my favorite flawed works ever.
I feel that way about Aspects of Love
Imagine a similar musical about Melania Trump 😄
@@gstone8255Don’t laugh! Life has a funny way of knocking an idea like that into play!😂
I loved Patti Lupone in the role. Thank you for this video!❤
Me too!
Patti should've played Evita in the film, AND she should've played Norma Desmond in the Sunset Boulevard musical. Patti had the voice and the movie-star looks to play Norma. Norma is unjustly portrayed as a grotesque in horrific makeup in some of the musical versions.
For the film. Ken Russell was being shopped, ( he directed Tommy). But he didn't like the lead they considered. Ann-Margret had aged out of the role, and wasn't one to blow people away with her voice. Who was the studios choice in 75? Meryl, Cher , Rachel, Bette, Berndog? Am was the most box office after getting an Oscar nod for Tommy.
Thank you for uploading this on the day I saw my first production of Evita. Absolutely loved it. One thing I'll share is that during "Dont Cry for Me Argentina" I did shed a tear as she walked to the microphone as I was so taken in by the beauty. And then I had one following thought.." oh my God, I'm falling for it like everyone else". Glad my instinct was right hahaha
What a WONDERFUL episode!!!
I learned the real intention of my favorite "Don’t Cry for Me Argentina”. Which has blown me away. If I ever sing that song again, and I will, I have a WHOLE different perspective to work with because of this wonderful, wonderful episode!! Keep up the good work!❤❤❤❤❤❤❤
Really well researched, balanced reporting. So cool to see so much of the 1979 Elaine, Patti and Sir ALW.
Really excellent episode. Incredible amount of work. When I was 20- 21 in 1976/77, I discovered the original album. At that age, at that time, any depth about the politics of Evita, escaped my consciousness. I remember in my apartment in West Hollywood blasting, "The Lady's got potential', until I got complaints from the neighbors. When Patti LuPone came to the LA production, I was fortunate enough to see Patti Lupone in it. However, I honestly always liked the OG album better than all versions.
When the movie came out I waited several months (right before they would pull it)to see in in Suburban Santa Rosa, at the Airport 8....small screen. Why did Madonna "speak" the speech, instead of singing, on the Casa Rosada, after DCMA? Who's decision was that? Isn't Evita a Rock Opera? It left me feeling a little unsettled. It was better than I could have imagined though. Again I really enjoyed how thorough your episode is.
I saw Elaine Paige in the London production. I walked away thinking there were two great songs -- High Flying Adored and Another Suitcase. The staging of Dangerous Jade stuck with me, too.
I later heard the concept album which really made me sit up. Covington's voice has a dryness to it that I think produces the Brechtian distance Prince talked about.
"Evita" is probably my favorite musical and I was able to catch Loni Ackerman filling the role on Broadway before it closed. I had the extreme honor of directing it about fifteen years ago and, as tumultuous as it was, would do it again at the drop of a hat ... provided I knew there was at least one actress out there capable of the task. I've seen too many productions that have fallen woefully short of doing it justice. I'm not a fan of Elaine Paige's talent, though she was impressive in "Piaf," and Madonna ... my stomach just does flips when I recall her saying, "No one can do it but me." Awful. No, LuPone set the bar and I have yet to see anyone come close.
That aside, I, too, obsessively researched the actual Eva Peron and was left just about as bewildered as everyone else, including this narrator.
I can still remember the TV commercials for "Ev8ta", and a tag line from them lives with me to this day, that they (the Argentines) were so mesmerized and entertained ."..,,...that nobody noticed that she simply seduced a nation!"
Something to keep in mind today!
Saw it in London in 1985. The scene that stands out the most is "The Art of the Possible" with the musical chairs and generals; I thought that was a brilliant piece of theater and a demonstration of how less can be a _lot_ more. I didn't know enough about musicals at the time to make note of who was in the title role, but I'm fairly sure it wasn't Elaine Paige by then.
Yeah I saw a community theater showing of the show and I agreed. It was a great way to stage it. Some audience members even laughed at the humor of it but it got the message across.
This is a such a good overview. Well done for such a perceptive and intelligent take on this 1970's masterwork.
I love this! Already watched it twice. So much info here. Thank you for all your hard work and research. This is the most thorough look at the creation of a musical I've ever seen. Love all the photos and videos of the original casts. Love this channel.
I was in college preparing to play a part for this show in the school orchestra. I listened to the Broadway recording about a hundred times. It was such an interesting story and Mandy Patinkin was oustanding. It really got me interested in musical theatre in a big way.
Your documentaries are so well made , well informed , fascinating and polished ! Amazing work , bloody well done 👏🏼👏🏼👏🏼👏🏼👏🏼
That was such an informative and nuanced video about my favourite musical, actually my only favourite musical, that it's quite hard for me to say how much I appreciate the work that you've done. Thank you once again!
You just explained to me my own experience with Evita, which I saw in a Chicago production that both thrilled me and turned me off. I've never quite understood my feelings about it but I think Jesse Green's review hits the mark exactly for me. Thank you for all the information, insight, and honest thought process that you obviously put into this video. You just earned my 'sub'. Can't wait to watch more of your content!
As an original cast member in both the London & Broadway versions, I found this intensely interesting. Thank you for it. But I do have a question. After all the wonderful coverage of Elaine and Patti, I wondered why you didn't mention that it was in the papers that Hal had wanted to fire both of them. In London it was in the Observer, the week before we opened entitled, The Che & Eva show. The journalists had followed us through the rehearsal process and interviewed pretty much however they wanted. Apparently Hal wanted to bring Bonnie in but Tim & Andrew said no. And in LA it was in Suzi's New York column. In both cities we had emergency company meetings full of tears with Hal having to build up his actresses and assure the casts that he was now firmly behind his leading ladies, that they had improved dramatically etc. In London it was unfortunate, but when Peppi and I were again at such a meeting in LA we sort of wondered. Was there manipulation here? I would love to get your take on this. PS: Elaine and Patti were wonderful to work with. At least that was my personal experience. As were Susannah and Terri.
Hi John! Thank you so much for the kind words and sharing this. I did read in Patti's memoir that Stigwood apparently wanted to fire her out of town, but I had no idea Elaine was in talks to be fired. Compared to Patti for sure, at least for me, Elaine's account of that time is rather calculated. As for why I didn't address those things... I decided not to focus too long on some of the backstage things that (based on the research I had access to) are speculative. One source who was there at least alluded to it in my talks with them but I still didn't want to draw much focus on it. Also, a lot of these archived news items are behind crazy paywalls. For context: I'm a Canadian often reporting on Broadway and New York. Given Evita's origins are distinctly British, I wanted more from items from that side and the episode was the first time i subscribed to The Times of London/Sunday Times to get some coverage of West End Evita. Still, based on my time using the site, I got the impression I didn't have access to everything... I would feel you would have a way more informed sense of the press manipulation at the time. Gleaning from what I've read, Stiwgood (something of showman producer) seemed to whip up the press and, based on something alluded to ALW's memoir, operated on the standard of any press is good press. That being said, ALW gets facts wrong in his in account of that time which makes reporting things even harder. Patti suggested Hal had something to do with the publicity/drama,... (Admission: I got some Peron history wrong after publication and have since cut it out.) It's fun and daunting getting all these accounts together. Thanks for watching! X
@@StagedRight Very impressed to receive a response so quickly. Don't even know if I expected one at all. The two experiences, London & Broadway were so different almost schizophrenic in mood and atmosphere, and because of you all those memories are bubbling back up to the surface. If you would like the observer article for your files, I definitely have it and could scan it for you next week when I return home. I might even have the Suzi column. Just for your own files if you are still interested. Once again thanks for the great work.
@@JohnCharlesYost That would be amazing. My e-mail is in the contact information on the channel's page. Cheers! X
Had a rather trippy moment of wondering why my friend from music camp's mum was on this, only to discover that she's theatre famous! They kept that quiet 😮 hey Mrs Fellows 👋😂
I am suffering through the ads to see this, now that UA-cam has threatened me with banishment via Adblock.
Julie Covington is an intriguing figure in musical theatre, such a beautiful voice. I don't know why she wasn't featured in the original london cast recording of Rocky Horror, perhaps that's also an interesting story. She's also the only person who I believe is able to successfully cover a Kate Bush song, The Kick Inside.
In my humble opinion, the concept album is better than the stage show. Julie Covington has such a vulnerability in her voice and of course the almighty Colm Wilkinson.
Julie was accidentally thrown off stage during a performance of The Rocky Horror Show and had to be hospitalised. She chose not to return to the show which was still in its infancy, instead joining a production of Antony and Cleopatra. Belinda Sinclair, her replacement in Rocky, thus appeared on the cast album. Such a shame as Julie Covington has a wonderful voice, would have worked wonders with the Rocky songs and to this day, in my opinion, is the best Eva Peron, albeit on record.
Having been totally unfamiliar with the original album before working on this episode, I have grown quite fond of Julie’s performance and the overall album, with certain moments becoming my preferred interpretations over the other recordings of the work. How thrilling it must have been hearing it for the first time without any previous reference.
@@JoeyArmstrong2800 Agree to disagree
@JoeyArmstrong2800 wholeheartedly agree with you. The stage show is another person's representation of the story, with the limitations of budgets, costume changes, etc. Wheras one's imagination is generated from an entirely personal interaction with the album. Covington's Evita has a purity of voice and projects a vulnerability, but Paige is softer and has more richness to it which takes the edge of any vulnerability she tries to project in this role.
Brilliant video! Always look forward to these!! Thank you so much
I went to the premier of the film when I was 17. I love the play and I love the film.
There are a number of conflicting reports (even by Rice himself) as to whether Che was intended to be staged as Guevara (even though the character's concept album story was based on him) but it was Prince who insisted on the revolutionary image.
The UK has had a number of revivals of Evita over the years, one of the more recent directed by Jamie Lloyd. Of course, the first West End revival (2006) was quite different to Prince's original and very definitely had Che as an everyman (this revival made it to Broadway in 2012).
You appear to have some contacts so I look forward to how you deal with Chess 😉
Absolutely brilliant work you have done! Thank you. Takes me back to 9th grade in political science class where I was introduced to Eva Peron. Was always fascinated by the story and the musical, then and now.
Patti is just phenomenal in the role, love all your videos!
LOVE YOUR VIDEOS!!! This is so great!
Excellent presentation. Insightful and entertaining.
I’ve seen Evita at least 5 times in various cities with different productions. Great documentary about how the show came to be. 👏🏻👏🏻👏🏻
I’m a fan of your analysis and the care you take to develop your posts. Thank you
Great work on this and JCS!
Than you Max for this promotion of Argentina and EVITA,for millons our emblematic national hero,.you had made another show with this "back stage"..Evita and our Elena Roger for ever!
watching this from argentina, love that you made this video
You really punched the word "whore" in "illegitimate whore" and l'm here for it. So glad to see a new video!
BAHAHAHA! Love ya. X
I truly love that description of Eva as an "illegitimate whore". That could have been the driving force in her life to be recognized and accepted by the upper crust elite and I truly admire Eva for her determination to climb the social ladder. However how much she tried, she never reached ir. To quote someone from that social stratum, "You will never become one of us." How tragic.
Lol I felt the same way but wasn’t sure Kevin would find it as funny. I also approve, it really sold the way the public must’ve felt about her
@@NUBF Kevin is a treasure and would love that you pick up the sass that he throws down! Eva Peron might feel a little humourless about it though....His videos always make me feel so happy.
@@kc-lp6wg lol thanks! And I so know what you mean. I am such a lover of knowledge and watching this channel I find myself enjoying not just the amount of labor and research that goes in to making these, but also the respect and kindness of Kevin’s lens. Combine it with music and interesting personalities, and StagedRight is a balm to my soul 💕
Finally watched this. Fascinating! 👍 Thanks so much. 👏
You never talk about Elena Roger, first argentinian actress to star in the first revival of this musical...
Very interesting. Very in depth and informative. Thanks for creating.
I admire Julie Covington's integrity.
She's a strange historical figure to base a musical on.
I still struggle to understand what they were trying to do.
Olivia Newton-John recorded this for her Making A Good Thing Better album, Karen Carpenter recorded it for the Passage album.
A very balanced look at the history and legacy of this musical. I learned a lot.
I don't watch musicals, I don't go to the theatre, I don't like the performing arts and rarely do I like the people who love or work in the performing arts, but for some reason, I watch so many YT videos about classic movies and theatre stuff. Just so interesting somehow :D
IMHO, it was the television advertising campaign that really sold this play and made it (and Patti Lupone) such a huge success. Who could ever forget the shot of Patti Lupone singing "Don't Cry For Me Argentina" on the balcony of the Casa Rosado? Or remember anything more about the spot other than that particular shot? Elaine Paige, who? That image was emblazoned in the minds of many and it was definitely money well spent! On another note... which was probably never even considered or would have never happened given the times (or she couldn't sing it), but... I always wondered what and how Diana Ross (in her prime) could have done with that one shot for her career and the notoriety of the show. I mean... if nothing else, Ross can surely wear a ball gown and bring the regalness and gravitas required of that moment.
😂
Ive seen it with Elaine Paige, Marti Webb and the late Stephanie Lawrence..❤
just discovered this channel, third video in so far! love it!!!!!!
AMAZING VIDEO!!! I just finished directing this musical and this video is a great teaching tool to show my students!! thank you so much for making this!
Excellent work - instant subscription!
I really appreciate this deep dive into Evita. However I feel like the musical itself doesn't really add up to much. A couple of show stoppers and it's over. What is it trying to say, if anything, about Eva Peron?
It’s about the dangers of power and ambition, especially when the holder is beautiful. It has a great deal to say about politics and image.
@@peterroberts6933 To me it's not there up on the stage though. Even some of the music I find questionable. I find people project onto Evita because they already know it inside and out. Without "Don't Cry for Me Argentina", the musical falls flat on its face. I really want to like Evita but it doesn't commit and feels like a copout.
@@JoeyArmstrong2800 It's in every line of the show and every note. It's about sexual politics, image over substance, the dangers of attractive fascism, ambition...these characters represent rather than live, sure, but it's an adult musical with adult themes. And to say that one song is good or meaningful means you really haven't listened to it properly.
@@kevinwilson3609I don't buy the whole "Cinderella" story thing because it's just not very compelling. To me it hits upon everything you listed but it all seems half-baked. Juan and Eva Peron were right-wing tyrants. I wish it was up on the stage.
Oh, I am so so sorry for you.
Bless your heart.
I love your video, especially your statement that we should still be aware of the warnings shared through the musical. I'm a Filipino and I do see similarities between the Perons and the Marcoses. This is why I was shocked that the son of former president Marcos is now the current president of the Philippines. Theater, like any other forms of literature, can sadly be used as propaganda for certain groups, the purpose to glorify and to change the narrative. I hope people would understand that even though these people did do good things, they still committed atrocious acts. "Humanizing" a contentious figure is such a complex subject, a double-edged sword.
I’d be curious to see what you think about the musical “Here Lies Love” about Imelda Marcos…
I'd like you to know what "atrocious acts" were commited during the Peron governments, according to your sources. It's said Marcos was responsible of the deads of 100.000 filipinos, nothing like that happened during Peron's tenure. It's obvious you ignore Argentine history.
I Saw Patty LuPone twice in her LA run...The first was a Saturday Matinee. Then I saw it right before it was leaving LA. She was really good. But the first performance I couldn't get over how different it was from the album, and Julie Covington. Especially except for the album, During "On The Balcony of the Casa Rosada", she sings her speech like an opera, but the PL version was spoken on pitch, instead. It threw me for a loop the first time I saw it, but It was incredible. I noticed that Elain Paige was singing the speech. I'll have to revisit that cast album. Very Very Good, Incredibly thorough documentary film. Thank you so much.
Having loved the musical when it first appeared on vinyl and as also a lover of Rock Follies I was over the moon when I heard Julie Covington would perform in Evita in Sydney. Being a Melbournite a trip was planned and tickets were bought. In the end I don’t think she even came to Australia….
This has been an amazing memory, i was in the irish production...keep up the work
I love the Evita film!
I love it, too. I don't care what anyone says, Madonna's star quality ( no pun intended!) brought so much to the powerful performance that Evita needed. Madonna has the charisma and talent to convey Evita's stature and controversial history. She also lost her mother from cancer very young and brought humanity to the role, something Evita would never let the Argentine people see. She was magnificent and was the perfect choice. Whilst there's always going to be bigger vocalists, that doesn't mean they have the screen presence or the ability to put on a show like Madonna!!
Me owning the OG white album on vinyl… I love it
@mipmipmipmipmip depends on the condition… there a lot of beat up ones missing the libretto. Those are like $10. Min was perfectly mint and maybe about $27 all said don’t with shipping and all that
Kudos mentioning HERE LIES LOVE in this. it is said that Imelda Marcos was inspired by and idolized Eva Peron, so the parallels do exist.
You do these soooo well, you’re so inspiring! Watched it several times already and having you tell me about Eva, her legacy and the making of the musical makes it almost ok that I was embarrassingly unaware of “Evita” before. And your Spanish pronunciation is great! 😁 thank you thank you thank you for the hours you put into this, it’s a labor of love and it really shows. Yay StagedRight! 🩵🩵
I am Argentine by birth. My mom, dad and I migrated from Buenos Aires to the USA in 1964, almost 2.5 months after The Beatles first visit and 5 months after President Kennedy's assassination, quite a turbulent time. I was 7. Although Argentina is a democracy and political unrest is a daily given, we'd migrated for economic reasons. The cost of living in Bs. As. was skyrocketing and jobs and living quarters were increasingly hard to find. The Paris of South America was going thru a growth spurt. My mom had told me quite a bit about Evita and Peronists as she'd lived thru this in her late teens and early twenties. She wasn't into politics but her father was and many of his friends were always in discussions around her while growing up. She didn't like the woman and she didn't like Peron and avoided any discussion like the plague. It was very dangerous to express any criticism. Evita indeed had the nation entirely fooled and people followed her blindly. It seemed to me that it was like the early days of Hitler (or any leader of that sort) who creates such a frenzy that it's hard for anyone to stay cool and get perspective. Hence "The crowd is fickle, it can be manipulated." . Imagine, years later, finding out a musical had been written about this complex and intriguing woman. Well, we both loved it! All in all, it is just a very broad sketch, but then how much can one capture in two hours? Of course, I'm lucky having all this "insider" information so I can fill in the blanks without even trying. I never did much research on my native country after we came but then the internet didn't exist and barely any info about Argentina til recently. Even now it's difficult to find. For all the critics that point out it isn't telling us the whole story, it makes Evita too sympathetic, etc. all I can say is take from the musical what you can. It's a story of a person/woman at a certain time in history. Put yourself in her place and see what you learn. As a theater and film lover, I thoroughly enjoyed your video and think you did an exemplary job. I'll only add one thing that wasn't emphasized and that is the lengthy love-hate relationship between Argentina and Britain. This may have had something to do with how it was received by the British and a lot by how it wasn't received in Argentina. As for me, although I've lived in USA for almost 60 years and am a naturalized citizen, "Don't Cry For Me Argentina" takes on an entirely different meaning...the streets of Buenos Aires will always be mine and Argentina forever my home. Thank you for this lovely video!
Thank you so much for sharing your story and your perspective! X
@@StagedRight My pleasure!
Great content as usual 👏🏼 just want to add that I would love it if you were to cover the life and career of Elaine Paige in one of your videos. I feel sometimes she can be somewhat overlooked compared to her broadway peers. Probably due to her mostly being a West End star. She was truly a trailblazer in musical theatre and a powerhouse talent- both as a singer and actor. As well-researched and well-edited as your videos are, I’m certain it would make for great viewing!
This, and others, just made you want to sing in musicals. I could sing, but I couldn’t SING! Patti, Mandy, etc. Shivers. 👍🤪🏳️🌈
Keeping with the ALW theme, I’d love a Joseph episode of staged right!
For Cannold's version, they play a documentary in the lobby with an extrnded interview with Evita's nurse. It was very fascinating to see her perspective.
I saw it on stage years ago and loved it .
and i also saw maddonner as well the role she was born to play
She was born to play....badly
@@kevinwilson3609Madonna was magnificent in that role.
@@Camille_Anderson Only when playing the corpse at the beginning
directed it a few times- powerhouse of a musical..
Perón wasn't a dictator, he was democratically elected president every single time. He was participant in a dictatorship, and he wasn't shy In using his support group against his enemies, but still, once elected president, he stride for a just democracy.
But don let it be misunderstood, everyone in power supports democracy, if it's of benefit to them, independently of which country they from. It's the same for every system of power, no one that holds power in for example Saudi Arabia sees a full democracy as a good change, their continuation of power is guaranteed in that system.
There's a balance between those in power and those who are not, it's a matter of who in power hold the support of the other. Change can only be achieved when a conflictive group, in the population, has no support for those who are in power.
Greetings form Argentina by the way 🇦🇷 👋
I smell a Kirchner supporter. (Or should I say her puppet Massa?)
You know that voting for these clowns is like 90% the reason your economy is in the toilet and the Blue Dollar is now 1000 pesos, right?
Peronism = death. Always has. Always will. Wake up.
This entirely missed a little nuance about Evita's album launch in 1976 and the London opening in June 1978 - the fact that this was also the time of the FIFA Football World Cup (soccer) being held in Argentina.
When the album/single were released in Nov 1976 the qualification competitions were already under way. Thus there was a real interest about Argentina being built up within the British public.
The show's opening in June 1978 was in the middle of the World Cup down in Argentina, which ran from 1st - 15th June.
I don't know if this juxtaposition was deliberate or pure serendipity, being a total cynic I am inclined to lean toward the former - though I am entirely without anything other than a reliance upon my own gut call here.
I still love the original album , it’s so much better than the Broadway and London cast recording
My friend Chris Lloyd Pack was Company Manager on the original - his brother Roger was in the beloved sitcom ONLY FOOLS AND HORSES. Their Father was Charles Lloyd Pack a great character actor. Our friend the late Ant Bowles was the original Musical Director and I’m pretty sure was the orchestral arranger. I was therefore very lucky enough to see it from vantage points on the stage and audience. Hal Prince kept a tight grip on the discipline of the show and would dive in unannounced on a matinee for instance. There are many backstage stories on this show and Chris required the tact and skills of a diplomat in delivering the notes. Even pop star Kathy Kirby apparently auditioned. Our MISSING PIECES company choreographer Richard Marcel choreographed for MADONNA in the movie … even more tact required!
Charro as Evita?! OMG that would have been FABULOUS
Tradition after the Staged Right deepdives; listen to the recordings.. I´ve always done the OBC but I´ll try the White Album!!
Love Mark. Met him a few years ago. Such a sweet man
Che Guevara screaming about his insecticide (cut from the musical production, but on the concept album) was a rather odd choice that we are probably better off without.
Patti said she was miserable through the Evita run, that she felt like she was screaming more than singing through this role. It is vocally difficult. When I sing along, I don't power belt, stay classical, because I don't want to damage my voice.
Many thanks for this interesting and in-depth analysis. I would have liked an honorable mention for Broadway veteran Florence Lacey, who holds the record for the most performances of ‘Evita’, including the 1989-90 European Tour.
Really? I read somewhere that Loni Ackerman held the record. Am not saying you're wrong, merely saying I read different information.
Thank you
Great video, thanks!
I knew Miss Lapone because my very dear friend and former roommate while living in NYC back in the 90's was a dresser and wardrobe supervisor on several of Miss Lapone shows, the last was Noices Off which I saw and assume didn't like because I remember nothing about it. Miss Lapone and my dear friend worked at the Broadway Cares charities together and so they knew each other well and I was in the company of Miss Lupone several tjmes. A couple years later she came to my home town Buffalo NY to perform with the Buffalo Philharmonic in one of her supposed favorite concert venues Kleinhans Music Hall. My Lupone obsessed gay friends dragged me to see her and had to since they paid for my ticket. After waking me up when the concert was over they stalked the back stage door for her to emerge. She of course talked to everyone which is something a lot of stars of her caliber don't do. I approached her with the thought she'd immediately recognize me and throw me a hug. But she didn't. "Who?" I reminded her after a couple of names I threw her and situations as a reminder and she barely remembered. She looked at me with a blank stare. Now I'm someone they Elaine Stritch remembererd 2 years after meeting her so the Lupone snub was unforgivable! Lol
You should do a vid like this about the creation of Phantom of the Opera
If you want to create your true version of Evita, I strongly suggest your reading EVITA by Argentinean historian Felipe Pigna. He tells the true story of this incredibly sensitive and passionate woman who actually look in the eyes of the working class, the poor and the miserable
Do you know of an English edition? My Spanish really isn’t good.
@@peterroberts6933 Pigna's work comes in English too on a separate page and the pictures are wonderful.
yup, the sensitive woman who screwed over the poor. Ripped off the rich while padding her personal bank accounts. She was a corrupt unethical woman. She couldn't care less or give one shit about the poor and man in the nation were left penniless and poor by her influence over nationalal politics. The Country was almost bankrupted. You might want to actually research the facts versus your fairy tale interpretation.
The show was written where they knew little about Eva.
It's easy to look back and critise it.
At the end of the day it's a musical inspired by something
It's a great show xxx
I wish you had mentioned the recent Evita production that was boycotted as the director refused to cast Latino actors in the roles. Because of that boycott a lot of Evita productions (including the 2019 one you mentioned) have finally cast Latino actors in the roles to avoid bad publicity.
Evita is the only musical with an Argentine/Hispanic woman at the center. The late 90s revival (which wanted to cash in on the Latin-English crossover of the 90s) that unfortunately failed to make it to Broadway was the first production to see Evita as a Latin American show with Latin American people rather than by 2 UK men. And a bunch of people still call that production a masterpiece!
Elena Roger faced a lot of flack because of her accent even though that’s literally what Eva would’ve sounded like. It was also nice to finally not have a gringa who couldn’t pronounce “Buenos Aires” correctly.
yes, lets' focus on something that is irrelevant in musical theater for authenticity. Better than someone fits the ethinic bill rather than being able to sing the part as it's written. People like you are why shows close quickly and people stop going. For example the stunt casting in the Notebook by having people of different races playing the same character as they age. The audience is confused and it makes no sense. We all appreciate your woke attempt at virtue signaling for everyone to know how progressive and trendy you are.
Wait, Tovah Feldshuh auditioned for Eva in New York?! She’s great, one of my favorite character actresses. I had no idea she could sing at that level. I would have loved to see her in the part.
She auditioned - doesn’t mean she could sing at that level, though. Tovah is great.
I love Tovah! Her recent Rose Brice in Funny Girl was wonderful. However I've seen a clip of her as Mama Rose in Gypsy...she could never have sung Evita as written.
She also played Yentl on stage. Wish I'd seen that pre-Barbra non-singing stage drama.
Love this show Evita
I think Andrew Lloyd Weber was inspired by the rock opera, Tommy the Movie , that came out in 1975. Its star Ann - Margret is the center of the show and has the passion and wardrobe of Eva Peron.
As a 50 year friend of Ms. Klausner and having seeing both she and Ms. Lupone in the role of Eva, I suggest you pose the following question to Ms Lupone: why did you slap Ms. Klausner across the face backstage one night for having the nerve to receive a good notice?
Done Right! Bravo!
You just earned a like and a subscriber
Great video! As someone who only vaguely aware of the real Eva Peron, what resources would you recommend to learn more? (Books, documentaries, etc.)
A great video. However it is a great pity the London 2019 reimagining by Jamie Lloyd is not referred to. A more radical take on the show than the Cannold version
I enjoyed the movie, but having seen it with Lupone on Broadway, I came to the conclusion that Madonna's voice couldn't really handle the part. Certainly not "8 shows a week, 2 matinee". I found the more technical information and her character intention informative and interesting, but that leads me to the idea that Madonna WANTED the part and offered up the interpretation as a fig leaf to her actually knowing her voice couldn't handle it
Please talk about Angela Lansbury