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Post by BurlyBeaR on Aug 3, 2019 5:58:15 GMT
Omg. My friend is coming over from France for this. It sounds like everything he hates! 😱
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Post by Someone in a tree on Aug 3, 2019 6:44:16 GMT
This thread is going to be so busy over the next month. Can't wait!
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Post by BurlyBeaR on Aug 3, 2019 7:17:06 GMT
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Post by NeilVHughes on Aug 3, 2019 7:27:02 GMT
Looking forward to following this thread, definitely looks as if it is going to be divisive.
Having seen JCS at the Barbican tempted to see this to continue my musical Theatre education and the potential car crash nature of this production somehow makes it more appealing.
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Post by Deleted on Aug 3, 2019 7:56:30 GMT
Hmmm. Balloons in this supposedly eco-friendly age. Then again the number of single use plastic cups. Hmmm again. Wonder how many birds are coughing up confetti this morning. Arseholes. Confetti outdoors for theatre should be banned. |
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Post by alece10 on Aug 3, 2019 8:13:27 GMT
To put this in perspective this is one persons opinion after a single preview performance. Dont think we should be rushing to cancel just yet.
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Post by richey on Aug 3, 2019 8:19:21 GMT
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Post by Deleted on Aug 3, 2019 8:35:07 GMT
Does Evita really require the SiX treatment? Comparing it to High School Musical doesn't make me any more keen to book, in fact the opposite. |
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Post by freckles on Aug 3, 2019 8:43:42 GMT
I’ll reserve judgement until I see this for myself but I’m quite intrigued and excited to see this now. I’ve seen so many productions of Evita that are exactly the same - it will be refreshing to see a different take. Sometimes “classic” musicals can become formulaic, and a break with tradition is not necessarily a bad idea. Of course, the problems with the book and subject matter aren’t going to go away, but I’m looking forward to seeing this fresh perspective, and hope it doesn’t spoil the show for me. Little Shop last year was inventive and different, and I was dreading it after some reviews but ended up really enjoying it!
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Post by Deleted on Aug 3, 2019 8:45:02 GMT
So I loved this. Not as much as JCS (reason being it was a lot more challenging, and at times deliberately uncomfortable). Feel I need to go again to fully collect all my thoughts though.
Was very unusual and very different to any Evita I have seen before. Lots of unusual symbolism, different interpretations of the source material and certainly challenged the traditional way Evita is done.
Spent first 15 minutes wondering what on earth I was watching but it grew on me through the performance. There's so much could describe but don't wanna just do a long list of spoilers.
Either way cast are fantastic as are an 18 piece orchestra. And despite the simple set it is very well designed and like JCS very visual. This will I am sure divide opinion. I would urge people to go and form theirs though.
I am a fan of so many long runners, people often tell me that these stifle creativity.
Well, here is an Evita completely reimagined with creativity in spadeloads. New. Fresh. The ending in particular was brilliant.
Can't wait to hear what board members make of it over the next few weeks.....
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Post by ukpuppetboy on Aug 3, 2019 9:07:16 GMT
I hope someone isn’t turning in their grave right now
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Post by juicy_but_terribly_drab on Aug 3, 2019 9:10:28 GMT
To put this in perspective this is one persons opinion after a single preview performance. Dont think we should be rushing to cancel just yet. Of course it's just one opinion but considering what I've seen of the stage and descriptions of the production design and choices made I can tell that this isn't what I want from Evita even if it may be for some people. |
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Post by Deleted on Aug 3, 2019 9:24:36 GMT
Despite my absolute love for so many original long running productions, I have to say this has really convinced me that there comes a time when shows SHOULD be handed over by the authors who then have no further creative input, and be completely reimagined by another team.
I love Evita (Grandage version probs definitive for me). But this was so different it was thrilling. Is also fairly unique to see an ALW show that has no bearing on how ALW himself would see it done - so many of them his feelings are deeply reflected by the creative team. Not so here.
I can see people not liking it. But even if you don't like it, the orchestra is incredible, the ensemble are incredible and the leads are incredible. It's very professional. So I do think most people would appreciate all that - even if they disagreed with the concept and staging.
It has actually really made me wanna see more ALW shows which the world can only see done one way completely reimagined. Wonder what could be done with Phantom lol.
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Post by BurlyBeaR on Aug 3, 2019 9:25:46 GMT
Well, if it’s well played and well sung I’ll be happy enough (although she sounds a bit screechy on YouTube). We always knew this wasn’t going to be Evita as we knew it, there would be zero point in doing that. So we’ve got what we expected, which is something unexpected.
I do find it a bit baffling though that in reinterpreting it so drastically he gives us the kid in the jewels and wig. If this is no longer to be about the historical character we all know, why bother making the reference?
And is Che wearing only a pair of denim cut off shorts at the end?
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Post by ukpuppetboy on Aug 3, 2019 9:29:15 GMT
And is Che wearing only a pair of denim cut off shorts at the end? They could have at least got Ricky Martin back for that |
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Post by Deleted on Aug 3, 2019 9:29:53 GMT
Well, if it’s well played and well sung I’ll be happy enough (although she sounds a bit screechy on YouTube). We always knew this wasn’t going to be Evita as we knew it, there would be zero point in doing that. So we’ve got what we expected, which is something unexpected. I do find it a bit baffling though that in reinterpreting it so drastically he gives us the kid in the jewels and wig. If this is no longer to be about the historical character we all know, why bother making the reference? And is Che wearing only a pair of denim cut off shorts at the end? All this makes sense in context. For Che - just his boxers by the end. Can explain but.... How do I do spoilers? (Sorry, total IT idiot, I know I should know this by now) |
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Post by Deleted on Aug 3, 2019 9:30:40 GMT
And is Che wearing only a pair of denim cut off shorts at the end? They could have at least got Ricky Martin back for that My God! I was already in a heightened emotional state ;-) |
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Post by BurlyBeaR on Aug 3, 2019 11:44:21 GMT
Well, if it’s well played and well sung I’ll be happy enough (although she sounds a bit screechy on YouTube). We always knew this wasn’t going to be Evita as we knew it, there would be zero point in doing that. So we’ve got what we expected, which is something unexpected. I do find it a bit baffling though that in reinterpreting it so drastically he gives us the kid in the jewels and wig. If this is no longer to be about the historical character we all know, why bother making the reference? And is Che wearing only a pair of denim cut off shorts at the end? All this makes sense in context. For Che - just his boxers by the end. Can explain but.... How do I do spoilers? (Sorry, total IT idiot, I know I should know this by now) Spoilers - see FAQ’s number 10. www.theatreboard.co.uk/thread/5946/rules-faq |
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Post by dontdreamit on Aug 3, 2019 12:40:37 GMT
So I loved this. Not as much as JCS (reason being it was a lot more challenging, and at times deliberately uncomfortable). Feel I need to go again to fully collect all my thoughts though. Was very unusual and very different to any Evita I have seen before. Lots of unusual symbolism, different interpretations of the source material and certainly challenged the traditional way Evita is done. Spent first 15 minutes wondering what on earth I was watching but it grew on me through the performance. There's so much could describe but don't wanna just do a long list of spoilers. Either way cast are fantastic as are an 18 piece orchestra. And despite the simple set it is very well designed and like JCS very visual. This will I am sure divide opinion. I would urge people to go and form theirs though. I am a fan of so many long runners, people often tell me that these stifle creativity. Well, here is an Evita completely reimagined with creativity in spadeloads. New. Fresh. The ending in particular was brilliant. Can't wait to hear what board members make of it over the next few weeks..... I’ve been back and forth about booking this- it’s looking like I’m going to have to bite the bullet, despite the cost... |
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Post by theatrefan77 on Aug 3, 2019 13:50:23 GMT
Interesting about the minimalist set. How does it compare to the other Lloyd Webber/Rice musical revivals this year? I suppose it’s a first preview but would’ve expected something more elaborate. I watched the compilation of clips with Sam Pauly as Evita from Westport and thought she was brilliant but maybe first night nerves? Meanwhile... and the money kept rollin in for Lord Andrew and Sir TimIt can't be compared to the other Lloyd Webber/Rice musical revivals this year. Maybe the only connection with Jesus Christ Superstar is the use of old fashion microphones at times but that's it. Really love the new production of Jesus Christ Superstar but this Evita didn't do it for me, didn't hate it was just too wacky for my liking. Have another ticket for next week that I was going to return, but decided to keep and give it another try, especially because of Trent Saunders' performance. He is imho the strongest performer in this production, great vocals and hit all the high notes. I think he would make an excellent Judas in Jesus Christ Superstar. I normally enjoy Jamie Lloyd's work very much although I hated his Doctor Faustus. I thought his productions of Assassins and Passion were absolutely wonderful. Also loved his take on Macbeth and his Piaf, but he's trying too hard to be edgy with Evita and ends up being just far too pretentious. For me edgy is what Harold Prince did with the original production. Lloyd's production is just bonkers. Still I look forward to a second viewing.
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Post by Deleted on Aug 3, 2019 15:32:25 GMT
Well, if it’s well played and well sung I’ll be happy enough (although she sounds a bit screechy on YouTube). We always knew this wasn’t going to be Evita as we knew it, there would be zero point in doing that. So we’ve got what we expected, which is something unexpected. I do find it a bit baffling though that in reinterpreting it so drastically he gives us the kid in the jewels and wig. If this is no longer to be about the historical character we all know, why bother making the reference? And is Che wearing only a pair of denim cut off shorts at the end? {Spoiler - click to view}
So the kid in the jewels and the wig is like a bratty kid prom queen - she sings "Dear Gentle Eva" and her and Eva look at each other with mutual disdain. At the end the kid holds out her hand and is given a fat pile of dollar bills which she puts into a bumbag around her dress.
At the VERY end during Che's final words (ending in 'Evita's body disappeared for 17 years') Eva stands there and is dressed in the big white dress and the iconic blond wig. (The first time we see a traditional Evita costume). I think it is making the point that this image of her, even though it IS how she looked, is something that has been cemented in her death. In life, she is portrayed as this rough gritty common girl, seeking fame in the style of X Factor contestants today.
In fact overall, I know we are always left in limbo of bitch vs saint in Evita, but this production is skewed very much towards bitch. Not entirely though, you do see glimpses of humility and feeling. It's made very clear though that most of the smiles for the cameras are fake.
Che during Waltz for Eva and Che gets undressed till he is in his boxers. At the end of the song Eva throws 2 buckets of water over him then one of ticker tape and he collapses as if injured. As the show progresses through her death he is then increasingly weak, such that when she dies it appears as if he has too. The interpretation I took is that Che represents the people, the descamisados and the prosperity of Argentina (now bankrupt). And they died over her reign as she was all mouth and actually did nothing for them. "Little has changed for us peasants down here on the ground."
This is all open to interpretation though! |
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Post by Deleted on Aug 3, 2019 15:38:35 GMT
I normally enjoy Jamie Lloyd's work very much although I hated his Doctor Faustus. I thought his productions of Assassins and Passion were absolutely wonderful. Also loved his take on Macbeth and his Piaf, but he's trying too hard to be edgy with Evita and ends up being just far too pretentious. For me edgy is what Harold Prince did with the original production. Lloyd's production is just bonkers. Still I look forward to a second viewing. I am also going again next week and looking fwd to taking it all in again and further deciphering what Jamie Lloyd is thinking. Was pondering revivals and basically, there are three options: - Recreate the original exactly (though is never QUITE the same as usually a little bit cheaper). - Do something along the same lines as the original with much of the 'direction' borrowed. I'd put the canon of Lawrence Connor stuff in there - and while I love his Les Mis - we have had enough complaints about this sort of thing on these boards. - Do something completely different and unexpected; challenging what people expect. Jamie Lloyd has well and truly gone with the third option. |
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Post by chernjam on Aug 3, 2019 16:10:27 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
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Post by theatrefan77 on Aug 3, 2019 17:12:15 GMT
I normally enjoy Jamie Lloyd's work very much although I hated his Doctor Faustus. I thought his productions of Assassins and Passion were absolutely wonderful. Also loved his take on Macbeth and his Piaf, but he's trying too hard to be edgy with Evita and ends up being just far too pretentious. For me edgy is what Harold Prince did with the original production. Lloyd's production is just bonkers. Still I look forward to a second viewing. I am also going again next week and looking fwd to taking it all in again and further deciphering what Jamie Lloyd is thinking. Was pondering revivals and basically, there are three options: - Recreate the original exactly (though is never QUITE the same as usually a little bit cheaper). - Do something along the same lines as the original with much of the 'direction' borrowed. I'd put the canon of Lawrence Connor stuff in there - and while I love his Les Mis - we have had enough complaints about this sort of thing on these boards. - Do something completely different and unexpected; challenging what people expect. Jamie Lloyd has well and truly gone with the third option. 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. |
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Post by Deleted on Aug 3, 2019 17:22:11 GMT
I am also going again next week and looking fwd to taking it all in again and further deciphering what Jamie Lloyd is thinking. Was pondering revivals and basically, there are three options: - Recreate the original exactly (though is never QUITE the same as usually a little bit cheaper). - Do something along the same lines as the original with much of the 'direction' borrowed. I'd put the canon of Lawrence Connor stuff in there - and while I love his Les Mis - we have had enough complaints about this sort of thing on these boards. - Do something completely different and unexpected; challenging what people expect. Jamie Lloyd has well and truly gone with the third option. 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? |
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