|
|
Post by Boob on Aug 5, 2019 14:44:03 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured.
|
|
2,242 posts
|
Post by richey on Aug 5, 2019 16:51:57 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand. |
|
19,659 posts
|
Post by BurlyBeaR on Aug 5, 2019 17:18:07 GMT
I see its the same price for for many of the central seats and was just wondering whether the steps on stage will lead to neck ache if sat in row A-C. Saw it on Saturday. The set goes right down to the ground, so A to C are fine. I was in D, in fact. No neck-ache as the rise is shallow. As usual in the park you can either have the "close up" experience ( mallardo , you will want to, trust me) or go in the rear section for what I'm sure is a spectacular overview. Regarding the grass banks, the rails at the sides of the stage are thick and if you are too near the shrubbery you will be looking through them. You want to be a little back and as near the aisle as you can. Don’t leave us in suspense.... what about the show? |
|
|
|
Post by Deleted on Aug 5, 2019 18:24:49 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. Boob! I literally could not disagree more (though of course respect your opinion on this :-)) I do honestly think it’s longevity was curtailed by changing tastes though, whichever production you may prefer. The Kenwright version played to 3/4 empty houses at the Dominion during what was only a very limited run anyway. Also discounted and papered extensively at the Phoenix. |
|
|
|
Post by Deleted on Aug 5, 2019 18:26:59 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand. Disagree re Elena but no doubt many agreed with you as this was much said at the time. She polarised opinion certainly. Re hard to understand I’d find it hard to judge as know the whole thing backwards. Ditto Miss Saigon - my Dad never has a clue what they are saying! |
|
19,659 posts
|
Post by BurlyBeaR on Aug 5, 2019 18:51:19 GMT
^Can't say until Friday. Press embargo. Boo 😟 |
|
19,659 posts
|
Post by BurlyBeaR on Aug 5, 2019 19:04:47 GMT
I think the reason the Grandage production didn’t run and run was that it simply wasn’t good enough - although I respect the opinion of those who would disagree with me on that front. Even with the dreadful Marti Pellow, I actually far preferred the Kenwright production which, in my opinion, served the story and nature of the piece better (if on a budget). I suspect that’s why that version has endured. Thank god it’s not just me. If you remove Pellow from the equation and insert Gian Marco Schiaretti, Jeremy Secombe and Magdalena Alberto it was a bloody good show. But of course it’s become folklore on here to slag it off. |
|
1,736 posts
|
Post by fiyero on Aug 5, 2019 19:35:18 GMT
Me too! An honour to have shared the theatre with such primate royalty. I purposefully avoided any news from the first preview to go in blind (as blind as you can when you've seen it 4 times previously). I could tell straight away this was different to any production of Evita I'd seen before! {My review - contains spoilers}
I loved the symbolism of the confetti, balloons and pyrotechnics and that they had really tried something new. I wasn't so sure about the use of handheld microphones, especially the wired ones. Probably didn't help that I revisited Jesus Christ Superstar in the afternoon but it seems very similar. In Evita I didn't see a reason for it apart from the cutting of the cable once.
I liked the development with Che near the end, though the 'violence' was more than I was expecting I like that it was challenging and not what we'd expect in a flashy musical. I wonder if they can still do that on a cold wet evening?
I get that it won't be everyone's cup of tea but as someone said earlier in the thread you need to reinvent. This isn't a case of just putting a show you already know on a different stage, they have thought about it all and decided the opinion of Eva they want us to leave with. |
|
781 posts
|
Post by latefortheoverture on Aug 5, 2019 20:50:07 GMT
Looking at some pics on Insta; this is definitely the Beychella edition of Evita. Can't lie it does look a little boring.... especially the tatty EVITA sign at the top. Just reminding people what they're watching just in case you forget. After last years massive little shop set, and JCS equally as large set I did expect a bit more...
I've never seen a production of it before and heard only one or two songs. Do you think this will be alright as my first intro to it??
|
|
134 posts
|
Post by romeo94 on Aug 5, 2019 21:24:52 GMT
How severe are the restricted views? O20 in particular...Would it be ok for someone over 6ft 4?
|
|
1,132 posts
|
Post by Stephen on Aug 5, 2019 21:59:05 GMT
I feel that I'm likely to think this is excellent simply because I am quite fond of the show but have only seen the poor Kenwright tour of it. Very excited for this.
|
|
|
|
Post by scarpia on Aug 5, 2019 22:29:33 GMT
I'm with you on this one. Whilst i loved parts of the Grandage revival (the set/some of the staging) I actually disliked Elena and thought she was extremely screechly and hard to understand. Disagree re Elena but no doubt many agreed with you as this was much said at the time. She polarised opinion certainly. Re hard to understand I’d find it hard to judge as know the whole thing backwards. Ditto Miss Saigon - my Dad never has a clue what they are saying! Elena Roger was certainly NOT the reason for the brevity of the London run. Variety reported that attendance got a big boost when she was on because all the reviews for her were so glowing (by contrast, attendance dropped massively on the alternate days). No ALW/RUG production has ever received as good reviews before or since. She certainly wasn't considered 'polarising' at the time - this only came when the show went to Broadway. If she had been, they would have thought twice about taking her to New York and casting her in major productions like Piaf and Passion, which she was superb in. I think a big reason is that they opened it at the wrong time. 2006 had too many musicals opening: Sunday, Wicked, Caroline or Change, Avenue Q, Cabaret, Porgy and Bess, Spamalot, Sound of Music... ...And Sound of Music was the killer because all of ALW's promotional efforts went on that, which was so annoying. Evita got barely any advanced publicity or hype. And I blame ALW for that as he's never been as interested in Evita as he should be, given that it's one of his strongest shows. Tim Rice gave up being the promo man ages ago, so it couldn't be left to him. I'd take Hal Prince's or Michael Grandage's production over Kenwright's cheap mess any day. |
|
|
|
Post by scarpia on Aug 5, 2019 22:40:01 GMT
I think sadly as ever the problem is financial. The awful Kenwright Evita sells out touring houses. So where is the incentive for producers to spend more? (Though Cam Mac does, as he wants to see his shows as the best version they can be - and this is a wonderful attitude I think). I used to think that about Cameron Mackintosh. But his recent decisions and continued reliance on a certain hack director to churn out substandard productions have made me reconsider. |
|
2,452 posts
|
Post by theatremadness on Aug 5, 2019 23:56:29 GMT
The balloon dress was cut tonight for the first time apparently.
|
|
2,242 posts
|
Post by richey on Aug 6, 2019 5:47:37 GMT
The balloon dress was cut tonight for the first time apparently. yeah it looks like that. There's a video on Insta (along with several other clips) of Don't Cry For me and whilst all around have balloons Eva doesn't |
|
2,370 posts
|
Post by theatreian on Aug 6, 2019 8:49:20 GMT
Quite a few pictures emerging on Instagram (won't post any links as I've already been a naughty boy) Gosh Che's boxers are rather tight. Not a lot left to the imagination For purely artistic purposes I have been trying to find said pictures but to no avail! |
|
|
|
Post by Deleted on Aug 6, 2019 9:33:29 GMT
So I went for the second time last night.
Indeed the balloon dress was cut and she sang Don't Cry For Me Argentina in long knickers and bra (the latter is sort of in the style of those pointy ones Madonna famously wore on one of her tours in the 80s).
Have to say I now think what they have done is complete genius. They've had a vision and they've gone for it. It's fresh and exciting and a completely different take on the characters.
Samantha Pauly is playing Eva in such an unusual way. She's rough, she's ambitious, she may or mat not have any talent. She's not interested in anyone. She looks on people as if they are a massive nuisance to her. She's like the bitch you love to hate from Footballer's Wives or Desperate Housewives. She's like an X Factor wannabe. A Cheryl Tweedy/Cole/Fernandez-Versini/Payne. When she meets Peron you don't even believe she remotely likes him, she just wants to use him. But occasionally she cracks and you see some real emotion (as she watches the Mistress sing Another Suitcase for example) making it all the more powerful.
Pauly also has a fantastic voice and nails the score. And the moves. No doubt a triple threat.
And the last 15/20 mins are the most powerful I have seen in any production of Evita.
Anyway, I wonder how this production will fare going forward. Sure there will be a return to the Open Air. Would be much harder than JCS to take indoors though due to the amount of pyrotechnics and other effects that can only really be done outside.
Scarpia - Re Roger I totally agree, I thought she was sensational and I remember the reviews were great. But I do recall there were lots of people who found her voice too sharp and also hard to understand. Without doubt though I fully agree - she is categorically not the reason it didn't run longer.
|
|
1,861 posts
|
Post by NeilVHughes on Aug 6, 2019 10:05:17 GMT
Taken the plunge, just booked a ticket.
Expanding my theatrical window, will now have seen 5 musicals this year.
|
|
4,955 posts
|
Post by Someone in a tree on Aug 6, 2019 13:38:16 GMT
|
|
3,057 posts
|
Post by ali973 on Aug 6, 2019 14:42:28 GMT
A balloon dress? WHAT?! I don't understand. An actual dress made of balloons...? What?
|
|
|
|
Post by Deleted on Aug 6, 2019 14:56:07 GMT
A balloon dress? WHAT?! I don't understand. An actual dress made of balloons...? What? So top was just the Madonna pointy bra. Bottom was the long knickers then over that was a black mesh skirt that had white and blue (the shade of the Argentine flag) balloons stuck on it. |
|
19,659 posts
|
Post by BurlyBeaR on Aug 6, 2019 15:41:46 GMT
Sorry to be a killjoy but please bear in mind our rule about copyright. Unless it’s clear that pics posted here are from official sources we have to assume they’re not, and remove them.
|
|
|
|
Post by Deleted on Aug 6, 2019 16:11:52 GMT
A balloon dress? WHAT?! I don't understand. An actual dress made of balloons...? What? So top was just the Madonna pointy bra. Bottom was the long knickers then over that was a black mesh skirt that had white and blue (the shade of the Argentine flag) balloons stuck on it. For any particular reason? Was there some reference (other than the flag) for it to be necessary? Or just because it looked edgy? Struggling to understand the logic there haha. |
|
|
|
Post by Deleted on Aug 6, 2019 16:18:40 GMT
So top was just the Madonna pointy bra. Bottom was the long knickers then over that was a black mesh skirt that had white and blue (the shade of the Argentine flag) balloons stuck on it. For any particular reason? Was there some reference (other than the flag) for it to be necessary? Or just because it looked edgy? Struggling to understand the logic there haha. So it’s totally consistent with the design throughout so in context (assuming you’ve been able to digest Act 1) doesn’t look that strange. As for what it means? Who knows. Very much hoping at some point the director will do a Q&A to answer these things. Though the balloon skirt may be now gone based on last night. Hopefully people there this week will let us know if it returns. Why she sings DCFMA in underwear though? Not sure! Making the point that without the white dress, iconic blond bun and jewels, she’s deeply ordinary?! |
|
|
|
Post by xanady on Aug 6, 2019 16:23:32 GMT
^Don’t cry for me I’m a streaker...or near enough😀
|
|
