172 posts
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Post by justsaying113 on Apr 14, 2023 7:21:08 GMT
It had better not be gender neutral casting!
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172 posts
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Post by justsaying113 on Apr 14, 2023 7:23:11 GMT
Or 'blind' casting. These are historical figures.
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Post by theatrefan62 on Apr 14, 2023 7:35:04 GMT
Or 'blind' casting. These are historical figures. Considering its a story set in a South American country and should really be cast as appropriately as possibly. It would be a bit problematic to replace one underrepresented demographic with another, or one with more representation already in the UK. Especially when it's telling their story.
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Post by max on Apr 14, 2023 8:22:35 GMT
Three Eva actresses (as Hal Prince toyed with, leaving a hint of it at the end of 'Oh What a Circus') but at Curve all remain on stage all the time Julie Covington to play older Evita.
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Post by BVM on Apr 14, 2023 8:34:07 GMT
Three Eva actresses (as Hal Prince toyed with, leaving a hint of it at the end of 'Oh What a Circus') but at Curve all remain on stage all the time Julie Covington to play older Evita. Unfortunately I am now thinking of Evita in the style of The Cher Show 😱.
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Post by BVM on Apr 14, 2023 8:48:31 GMT
I must have seen Evita more than 20 times over the years (one of my favourite musicals).
Personally I'd be quite up for seeing something different/less conventional at The Curve, be that via casting or anything else.
I really enjoyed the Jamie Lloyd version. Loved the way they stuck to the ALW/Cullen orchestrations with very similar musical direction to the Adelphi version; yet brought out such different meanings in the direction itself (without changing the script - much like the new version of Oklahoma). The moment at the end implying the classic image of Evita that is now known, was only actually created in death, I thought was genius.
Not saying I preferred it to previous versions. But it made me think differently about a musical I know backwards, which I appreciated.
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Post by BurlyBeaR on Apr 14, 2023 17:27:23 GMT
Why? You didn’t like her in A Chorus Line at the Curve if I recall. And I agree her Cassie was poor. What makes you think she’d be good as a gender swapped Che? Or are you kidding? I didn't like A Chorus Line at Curve full stop - I think she is one of the most talented performers of her generation and was hampered by Ellen Kane's diabolical choreography for the number, as was that entire production. She's a star, as she showed in Anything Goes. That’s a big claim. Thrilled you like her though! 🙂
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Post by anthony40 on Apr 18, 2023 12:27:52 GMT
Three Eva actresses (as Hal Prince toyed with, leaving a hint of it at the end of 'Oh What a Circus') but at Curve all remain on stage all the time Julie Covington to play older Evita. Correct me if I'm wrong but wasn't Eva Peron only 36 when she died? I wouldn't suggest that 36 is old!
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Post by justsaying113 on Apr 18, 2023 15:38:02 GMT
33 Anthony - and was she short, blonde and, frankly, pretty rough/common (it's partly why Paige and LuPone were so good!). I honestly don't think this is a role you can mess with. That score is brutal for the role of 'Eva' and we've certainly seen the sublime over the years - and a good few who no matter how valiantly they tried, were cast way beyond their capability and suitability for the part. It would be great to find some young talent from a Hispanic background.
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Post by max on Apr 19, 2023 20:34:06 GMT
Three Eva actresses (as Hal Prince toyed with, leaving a hint of it at the end of 'Oh What a Circus') but at Curve all remain on stage all the time Julie Covington to play older Evita. Correct me if I'm wrong but wasn't Eva Peron only 36 when she died? I wouldn't suggest that 36 is old! She was 33 when she died, same as Jesus - if we're looking for Tim Rice recurring tropes. Tbf I did say "older" not "old" lol. And I also think Julie Covington would be exciting to see, but it seems when we put triple question marks, proboards interprets it with an annoyed looking emoji (which I didn't intend).
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Post by danb on Apr 19, 2023 20:44:25 GMT
I’m not sure what 76 year old JC could do with ‘Evitas’ unforgiving score…Legacy throwbacks are a nice idea but not at a detriment to its sound.
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Post by max on Apr 19, 2023 21:01:59 GMT
I’m not sure what 76 year old JC could do with ‘Evitas’ unforgiving score…Legacy throwbacks are a nice idea but not at a detriment to its sound. "So what use could fifty, sixty, seventy be? I saw the lights, and I was on my way" sung with dark irony by a watching Eva of the age she never reached (watching the younger Evas) You know it makes sense, lol.
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Post by danb on Apr 19, 2023 21:09:55 GMT
🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️
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Post by anthony40 on Apr 20, 2023 9:12:21 GMT
You know, regardless of an individual actress's take on the role, it seem pretty evident that this was a very determined young lady who still seems as controversial now, as she was when she was alive.
Apparently quite petite and physically small in stature.
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Post by anthony40 on Apr 20, 2023 10:08:58 GMT
*Completely useless fact.
In the 'Let's Hear It For The Rainbow Tour' sequence in the film, there's a blink and miss it moment where there is grainy black and white footage of Eva waving when in Spain in a bull fighting rink. There is also a matador. This then cuts to Madonna.
That grainy black and white footage is of the real Eva
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Post by anthony40 on Apr 20, 2023 17:44:54 GMT
"Oh, what I'd give for a hundred years, but the physical interferes - every day more, oh my creator.
What is the good of the strongest heart, in a body that's falling apart.
A serious fault. I hope you know that."
Powerful stuff!
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Post by distantcousin on Aug 2, 2023 11:34:23 GMT
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Post by ceebee on Aug 2, 2023 11:39:11 GMT
Now we're talking - two fantastic voices that can actually do this piece justice in a hopefully more ambitious and modern way than the poor concert version staged this week.
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Post by HereForTheatre on Aug 7, 2023 13:10:14 GMT
Interesting casting, they are both great and I'm especially intrigued to see Tyrone as Che. It's nice to see him return to Curve and indeed the stage as I think he started focusing on directing recently. Looking forward to hearing more news on who is taking on the other roles too. I've heard a few things about this production, it's not going to be a traditional take but nor is it going to be as completely out there as the OAT version.
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Post by elfman1 on Nov 27, 2023 23:02:36 GMT
Just seen the first preview and I thought it was a very strong production. The opening was simply stunning if you’re sitting in the first few rows on the door four side of the auditorium you’ll get a surprise at the start of oh what a circus. All the cast were great but I thought Chumisa Dornford-May gave a great rendition of another suitcase her mistress came across as verydefiant throughout. Well worth a visit if you can make it
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Post by BurlyBeaR on Nov 27, 2023 23:03:52 GMT
Don’t make me go to Leicester again … 😕
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Post by marob on Nov 27, 2023 23:24:03 GMT
I know what you mean. Lovely theatre. Pain to get to. Never seen Evita though. And those 1pm Sunday matinees are looking quite tempting.
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Post by richey on Nov 27, 2023 23:24:12 GMT
Don’t make me go to Leicester again … 😕 My sentiment too
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Post by BVM on Nov 28, 2023 12:28:37 GMT
Just seen the first preview and I thought it was a very strong production. The opening was simply stunning if you’re sitting in the first few rows on the door four side of the auditorium you’ll get a surprise at the start of oh what a circus. All the cast were great but I thought Chumisa Dornford-May gave a great rendition of another suitcase her mistress came across as verydefiant throughout. Well worth a visit if you can make it Sounds good. What was the set like? And the staging in general; traditional of more modern/abstract? I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black!
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Post by elfman1 on Nov 28, 2023 12:54:17 GMT
Just seen the first preview and I thought it was a very strong production. The opening was simply stunning if you’re sitting in the first few rows on the door four side of the auditorium you’ll get a surprise at the start of oh what a circus. All the cast were great but I thought Chumisa Dornford-May gave a great rendition of another suitcase her mistress came across as verydefiant throughout. Well worth a visit if you can make it Sounds good. What was the set like? And the staging in general; traditional of more modern/abstract? I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black! The set was bare with a movable staircase for set pieces and walkway above the stage that could rise up and down. Used a lot of live video. Staging was much more modern than previous productions with some songs having very modern concepts for the staging (less the waltz for Che and Eva and more the interview of Che and Eva). The ensemble do mostly wear black however it does have more colour than it looks with the upper classes in persons latest flame being very colourful.
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Post by BVM on Nov 28, 2023 13:07:12 GMT
Sounds good. What was the set like? And the staging in general; traditional of more modern/abstract? I saw the curtain call vid on Twitter and it looked very minimalistic and everyone seemed to be wearing black! The set was bare with a movable staircase for set pieces and walkway above the stage that could rise up and down. Used a lot of live video. Staging was much more modern than previous productions with some songs having very modern concepts for the staging (less the waltz for Che and Eva and more the interview of Che and Eva). The ensemble do mostly wear black however it does have more colour than it looks with the upper classes in persons latest flame being very colourful. Interesting. Thanks very much for describing!
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Post by mkb on Nov 29, 2023 2:47:53 GMT
What is it with this current fetish of directors to massacre reliable and accomplished musical theatre works? Nikolai Foster has form with Billy Elliot, and now this. (I skipped his Chorus Line after hearing feedback.)
Given the preparation time involved in a production like Evita, it simply isn't possible that Foster hot-footed it down to the Savoy and knocked up a Jamie Lloyd clone, so one can only conclude that this is coincidence and the way "modern" directors are all thinking these days in the wake of Ivo van Hove, but the Belgian at least has some theatrical flair and generally a rationale to his artifices.
For Evita, we have a completely bare stage, apart from a giant staircase that is on, then off, then on again, then swung around distractingly, and so on, repeated ad nauseum. There are occasional tables with chairs. (That's to say tables that appear occasionally, not a multitude of occasional tables.) There's a suspended walkway across the width of the stage which lowers from the rafters when needed, including one scene where it crushes the crowd underneath who writhe like dying flies. (Cue unintended laughter.) The set is completed in one sequence by some upstage curtains, of which more later, and, at various times, by a vertical video screen. And that's it.
That's not quite right. I forgot to mention a rectangular platform in the middle of the stage that rises up high three or four times, initially bearing Eva Peron's coffin. Unfortunately, it wobbles rather alarmingly, and I was fearing for the safety of Tyrone Huntley's Che Guevara when stood atop it.
Foster likes to illuminate his protagonist, and I mean really illuminate her. There is a plethora of lights in constant movement, and a whole cluster facing out. Because the audience is looking directly at them, your eyes mainly follow the equipment rather than their effect. This is most definitely a show for the TikTok-heads who are easily dazzled.
There is an oft-repeated device in musicals where a scene is set on a theatrical stage and a pair of curtains closes across the upstage area. As viewers, we can be made to realise that we are looking at the backs of those curtains from the players' perspective out to the imagined audience beyond, or looking at the front of those curtains from the same vantage point as that audience. The device I am alluding to is where the scene transitions quickly from front perspective to rear perspective, or vice versa. So as not to confuse us, the effect can be achieved by literally spinning the curtains around; it can be done by changing the backdrop behind the curtains and the props in front; it can even be done remarkably effectively just using lighting changes. Foster's technique is simply to switch with no hint that it has happened. It is confusing and bizarre.
I could catalogue a litany of similarly ill-judged directorial decisions, but it's too depressing to recount.
Clearly the budget here does not extend to West End levels, so there is just the one handheld Steadicam and another floor-standing camera (on wheels and moved frequently, of course). The technical gurus at the Curve have not mastered how to screen live video without a quarter-second delay. Tip: do not let your Che stand directly in front of the screen clapping his outstretched hands, as this makes the lag rather more noticeable than it needs to be.
The bulk of the cast are costumed in hi-top, all-black Vans and slim black jeans, with black vests for the men and t-shirts otherwise. The male actors have evidently been selected for their physique, good looks and bulging biceps, which they show off to excess. Which is not to decry their acting, dancing or singing, as they all pass muster on those fronts. It's just that this feels more like a homoerotic parade of Chippendales at times. (That can work in, say, South Pacific, but in Evita? Really?)
Naturally, Foster’s Eva Peron is bisexual, flirting and frottaging with either gender. In that role, Martha Kirby has a good voice, but her Eva needs to be more captivating. Gary Milner as General Peron is believable and stands out (and not because of his double-breasted, pinstripe, navy suit that screams cheap-as-chips David Dickinson). The rest of the cast do their best under bad direction.
Any other version of Evita is fascinating for its tale of a poor, illegitimate, working-class girl sleeping her way to the top, and commanding the adoration of the masses, a real-life phenomenon, a cult of personality. We are meant to question whether there is any altruistic element behind all of the self-interest. Can she be pitied? Sadly, most of that is buried in Foster's staging.
Those unfamiliar with the story may struggle to follow the narrative, as Tim Rice's fast-paced lyrics are not given any helpful context in many scenes from the usual visual clues of scenery, props, costumes, etc. I suspect some will not even have realised the historical identity and symbolism of our narrator. Che’s attire says French 60s New Wave with the addition of a beanie hat. Che is important in the piece as a spokesman for the proletariat -- a reminder to Eva of her roots -- and, more importantly, as her conscience. All of this is lost in translation here.
Some of the synchronised stage movement and choreography works, but there are moments when it comes across as awkward, and detracts from rather than adds to the intended mood.
Audience reaction during the first act was decidedly tepid, with those numbers that had a punctuation where applause is expected receiving an embarrassingly muted response. A nine-minute show-stop put paid to any building of momentum. Act two was better received, the audience no doubt assisted by interval libation and a renewed determination to make the best of a night out. Of course, provincial crowds at musicals will ovate at the slightest excuse in these X-Factor-influenced days, but I did not see anyone rise. Very telling. You might get away with pretentious onanism in the capital -- in fact you'll often be feted for it -- but the less-youthful theatregoers in the regions are not so forgiving.
Two stars.
Act 1: 19:36-19:52 <show stop> 20:01-20:38 Act 2: 21:01-22:00
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Post by 141920grm on Nov 29, 2023 10:52:10 GMT
As the stage was huge and basically completely bare I actually didn't like how much I saw. Way too much waiting around onstage by the rest of the cast, ostensibly as 'onlookers' but obviously just to push around a bit of the set at the next cue, or to get in place in advance for their next number. The scale of the lighting rigs was impressive but got predictable quickly. The bridge was used to nice effect, especially in 'Don't Cry for Me Argentina'; the staircase overused and lit somewhat tackily for 'Rainbow Tour'.
Unlike the mystique and drama Sunset's minimalism is able to pull off, this Evita's staging somehow manages to be empty and unfocused during all other scenes when they're not beaming every single spotlight onto Martha- whose performance really shone alongside Gary's Peron.
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Post by BurlyBeaR on Nov 29, 2023 11:07:14 GMT
Poll added.
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Post by BurlyBeaR on Nov 29, 2023 11:12:45 GMT
There was the same issue with video delay at Curve’s A Chorus Line. It’s hugely distracting and whatever they’re trying to achieve with it is thrown away because it doesn’t look right and detracts rather than adds. The fact that Sunset Boulevard doesn’t have this problem means it’s technically possible so is that because more money was thrown at it? If that’s the case and other productions aren’t in a position to invest whatever ££ is needed for to be perfect then I wish they would just leave it out. The rest of it sounds horrible too. Thanks for the detailed review mkb .
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