68 posts
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Evita
Aug 7, 2017 22:47:40 GMT
Post by BGLowe on Aug 7, 2017 22:47:40 GMT
Oh, right. She wasn't on the cast list when the London cast were announced so I'd assumed she wasn't doing it. I may have to try to finally see her Eva, having not managed to do so back in 2011. You're right, she wasn't announced initially - I think some kinks were still being worked out - but her name is on the poster outside the theatre, so yes she's 100% in it. Natalie was on tonight so worth keeping an eye on Monday's as a possibility for her scheduled show, as per what AFF said! She did the Thurs matinee last week but that could have been because press night was the night before.
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3,057 posts
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Post by ali973 on Aug 8, 2017 12:06:52 GMT
But not everything is, or has to be the same as the "iconic" original. Who made that law? If you insist that everything after the original is inferior, and can't be allowed to be seen then the show will die. Your attitude to this production of Evita screams snobbery and elitism. Your post above and earlier in this thread does nothing to dispel that. I don't know why you're going to see it, given that you seem to be looking forward to slamming it. Do you think that every show should remain only in the west end, or should only be allowed to tour if the production values that existed in the west end can be sustained? Do you realise what that would do to British (outside London) theatre. Seriously? I think I might not have done a good job explaining my position. Chicago has been a perfect example of how a revival (a stripped down version, to boot) has worked in the show's favor. So, no it's not the law, but the Hal Prince version made Evita what it is today, and I could understand why someone thinks that his version of Evita, Phantom and Sweeney Todd could be sacrosanct. I did not even make this claim myself about Evita. I saw the Grandage version, and though I thought it lacked steam, I thought it was fabulously staged and designed. I have no shame if my attitude screams snobbery and elitism. The lack of quality and the compromises the producers have done to the material, the artistic and creative value deserves to be met with criticism. I don't understand why my attitude is an issue given that this third tier production has the chutzpah to appear in a West End stage and in the world's most important theatre destination. In fact, I take offense at its audacity. This is not a sub-part production that is naively or by accident playing in the West End. Its producers are fully aware of its choices and has clearly put their financial gains above all, and compromised the quality of the show knowing they'd get away with it. No, not good for them. I'm all for producers doing well and earning their hard earned risks and investment, but not when it compromises the quality of the production. On your final comment and the consequences of what would happen to British theatre outside of London, I'm generally against half-ass productions touring the provinces, as I genuinely believe the standards in UK commercial theatre in the provinces needs to improve. But I also understand the limitations. What I do hope would happen is that if these productions must exist, they should exist outside of London, thank you very much.
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449 posts
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Evita
Aug 8, 2017 12:12:53 GMT
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Post by SageStageMgr on Aug 8, 2017 12:12:53 GMT
But not everything is, or has to be the same as the "iconic" original. Who made that law? If you insist that everything after the original is inferior, and can't be allowed to be seen then the show will die. Your attitude to this production of Evita screams snobbery and elitism. Your post above and earlier in this thread does nothing to dispel that. I don't know why you're going to see it, given that you seem to be looking forward to slamming it. Do you think that every show should remain only in the west end, or should only be allowed to tour if the production values that existed in the west end can be sustained? Do you realise what that would do to British (outside London) theatre. Seriously? I think I might not have done a good job explaining my position. Chicago has been a perfect example of how a revival (a stripped down version, to boot) has worked in the show's favor. So, no it's not the law, but the Hal Prince version made Evita what it is today, and I could understand why someone thinks that his version of Evita, Phantom and Sweeney Todd could be sacrosanct. I did not even make this claim myself about Evita. I saw the Grandage version, and though I thought it lacked steam, I thought it was fabulously staged and designed. I have no shame if my attitude screams snobbery and elitism. The lack of quality and the compromises the producers have done to the material, the artistic and creative value deserves to be met with criticism. I don't understand why my attitude is an issue given that this third tier production has the chutzpah to appear in a West End stage and in the world's most important theatre destination. In fact, I take offense at its audacity. This is not a sub-part production that is naively or by accident playing in the West End. Its producers are fully aware of its choices and has clearly put their financial gains above all, and compromised the quality of the show knowing they'd get away with it. No, not good for them. I'm all for producers doing well and earning their hard earned risks and investment, but not when it compromises the quality of the production. On your final comment and the consequences of what would happen to British theatre outside of London, I'm generally against half-ass productions touring the provinces, as I genuinely believe the standards in UK commercial theatre in the provinces needs to improve. But I also understand the limitations. What I do hope would happen is that if these productions must exist, they should exist outside of London, thank you very much. Spot on - exactly.
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Evita
Aug 8, 2017 12:30:31 GMT
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Post by Deleted on Aug 8, 2017 12:30:31 GMT
The thing is, we've all been here before. For some people who have seen the original west end productions then nothing else will ever compare. I remember my first spat with someone in the old forum (might have been mr Barnaby) was about the first Priscilla tour and the perception that it must be crap because there wasn't a 'proper' bus. Well I saw it and the bus wasn't a full bus but it made no difference to the fact that it was a fabulous, joyful production. I never saw the west end Evita either and, hear this. I DONT CARE. Because like generations of future theatregoers, no matter how brilliant it might have been, it's now history. And ancient history at that. And the number of people who did see it gets fewer every year and SOON YOULL ALL BE DEAD! These tours are bringing shows to people around the country who are just as discerning as the west end audience, (more so, if some of the goings on in London are anything to judge by) and the sneery, pompous attitude that touring productions are intrinsically rubbish is just blatant elitism and rampant snobbery. Unless you're a theatre owner, or a producer, you don't actually know what stacks up financially and if you did you'd be doing the job yourself. So get over 'yo self! There. BBx Disclaimer: none of the above applies to Kenwrights Spamalot tour which it's truly f****** hideous. I thank yow! I can't speak for the differences between productions, all I know is that when I saw the show at the Dominion it was poor. The fact that the same show was put into two theatres as different as the Phoenix as the Dominion suggests it probably didn't work very well in one of them, and I'd wager it was the Dominion.
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18,699 posts
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Post by BurlyBeaR on Aug 8, 2017 13:35:19 GMT
On your final comment and the consequences of what would happen to British theatre outside of London, I'm generally against half-ass productions touring the provinces, as I genuinely believe the standards in UK commercial theatre in the provinces needs to improve. But I also understand the limitations. What I do hope would happen is that if these productions must exist, they should exist outside of London, thank you very much. Because we gave to make sure there's plenty of room in London for Thriller Live, Stomp, Motown, The Mousetrap, and ten years of WWRY.
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4,943 posts
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Post by TallPaul on Aug 8, 2017 13:39:40 GMT
Being a northerner, I know my place, thank you very much.
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Post by Deleted on Aug 8, 2017 14:06:10 GMT
On your final comment and the consequences of what would happen to British theatre outside of London, I'm generally against half-ass productions touring the provinces, as I genuinely believe the standards in UK commercial theatre in the provinces needs to improve. But I also understand the limitations. What I do hope would happen is that if these productions must exist, they should exist outside of London, thank you very much. Because we gave to make sure there's plenty of room in London for Thriller Live, Stomp, Motown, The Mousetrap, and ten years of WWRY. Seems a bit harsh since all of the shows that you've listed are of the exact same low standard as this production of Evita. Let's keep tours out of London altogether and make room for new musicals/quality Broadway transfers. I agree with Ali on that.
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1,848 posts
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Evita
Aug 8, 2017 19:55:31 GMT
Post by distantcousin on Aug 8, 2017 19:55:31 GMT
Can anyone tell me if La Hatton does all performances? She does every show apart from Monday Great, thank you!
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114 posts
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Evita
Aug 9, 2017 7:58:19 GMT
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Post by showbizkid on Aug 9, 2017 7:58:19 GMT
Saw this last night. I actually preferred it to the 2008 Elena Rogers ALW revival. Sure the cast are too young and it's not a A list standard production but I thought the cast was terrific. Emma Hatton however played the role most unlikeable and her characterisation of the role just ended up coming across as too hard. We need to love Eva and be charmed by her. That said she sang it well. Worth seeing - one of ALW's best scores! 7/10.
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571 posts
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Post by westendwendy on Aug 9, 2017 14:27:43 GMT
I genuinely laughed out loud when my right honourable friend said the Kenwright Evita is better than Grandage's 2006 revival. Each to their own and all... but that's just bonkers!
I also preferred the Kenwright version to the 2006 revival!!!
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805 posts
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Evita
Aug 9, 2017 14:47:40 GMT
Post by duncan on Aug 9, 2017 14:47:40 GMT
Ali973 said
Another example of the vile snobbery that exists within the metropolitan elite on this board. Theatre in the provinces is doing fine thanks, we survive without the hideous tosh of Londons less than glittering West End and its continual cycle of piss poor musicals and 1950s throwback plays. Us poor plebs in the provinces thankfully have far more variety of works than the inner city scum of the south - I'm lucky to have seen so many World Premieres this year that have been vibrant, new, different and which as they have been speaking to the people of the country rather than the out of touch metropolitan elite will certainly never see the inside of one of the over priced houses of the slums of London.
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Evita
Aug 9, 2017 16:06:04 GMT
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Post by Deleted on Aug 9, 2017 16:06:04 GMT
Unfortunately you will always get the snobbery from certain people on here
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449 posts
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Post by SageStageMgr on Aug 9, 2017 16:34:19 GMT
Ali973 said
Another example of the vile snobbery that exists within the metropolitan elite on this board. Theatre in the provinces is doing fine thanks, we survive without the hideous tosh of Londons less than glittering West End and its continual cycle of piss poor musicals and 1950s throwback plays. Us poor plebs in the provinces thankfully have far more variety of works than the inner city scum of the south - I'm lucky to have seen so many World Premieres this year that have been vibrant, new, different and which as they have been speaking to the people of the country rather than the out of touch metropolitan elite will certainly never see the inside of one of the over priced houses of the slums of London.
I think feelings are running a little high here. Vile snobbery? We all love theatre and everyone is entitled to their view.
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571 posts
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Evita
Aug 9, 2017 16:54:50 GMT
Post by westendwendy on Aug 9, 2017 16:54:50 GMT
Ali973 said
Another example of the vile snobbery that exists within the metropolitan elite on this board. Theatre in the provinces is doing fine thanks, we survive without the hideous tosh of Londons less than glittering West End and its continual cycle of piss poor musicals and 1950s throwback plays. Us poor plebs in the provinces thankfully have far more variety of works than the inner city scum of the south - I'm lucky to have seen so many World Premieres this year that have been vibrant, new, different and which as they have been speaking to the people of the country rather than the out of touch metropolitan elite will certainly never see the inside of one of the over priced houses of the slums of London.
Actually you have a point. Sheffield Crucible, Manchester Royal Exchange, Liverpool Everyman, Playhouse and Royal Court, West Yorkshire Playhouse, Hull Truck Theatre to name just a few oop north. I also find London centric people unfriendly mostly rude, obsessed with class, closed shop mentality and PC crazy.
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Post by d'James on Aug 9, 2017 16:56:29 GMT
Can we stop this conversation right now as it's offensive all round. This is a thread about Evita!
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315 posts
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Post by Scswp on Aug 9, 2017 20:05:37 GMT
Let's hear about people's favourite Evas over the years and the reasons why you felt they gave the 'best' performance. From the Evas I've seen live (Jacqui Scott, Paula Simpson, Madalena Alberto, Marti Webb - twice, Rachael Wooding, Abi Jaye, Elena Roger and a bootleg recording of Rebecca Storm), the best was Jacqui Scott for me. She had the belting range to sing the part as written and her acting was superb. She really made the transition from young 'tart' to First Lady in such a convincing way. Her persona throughout the performance really altered. Then, when she dies at the end, she became extremely frail - you genuinely believed she was dying. It was the most fantastic performance both vocally and in terms of acting. I think her Peron was Michael Bauer, who was also very good (and went on to play Max in Sunset Boulevard in London for years!!!!) Interestingly, I didn't see any of the original Evas in London, but from posts on other boards that I've read over the years, Marti Webb appears to have been many people's least popular (I thought she was ok when I saw her years later in the UK tour), whereas Stephanie Lawrence seems to be surprisingly popular. I say surprisingly because I just can't imagine her having the vocal power to sing certain parts of the score (e.g. Rainbow High, A New Argentina). Would have loved to hear her sing this score - difficult for me to imagine this with her vocal style, but I know several people have said how good she was in the role (the best London Evita, according to some).
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449 posts
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Evita
Aug 9, 2017 21:06:16 GMT
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Post by SageStageMgr on Aug 9, 2017 21:06:16 GMT
Let's hear about people's favourite Evas over the years and the reasons why you felt they gave the 'best' performance. From the Evas I've seen live (Jacqui Scott, Paula Simpson, Madalena Alberto, Marti Webb - twice, Rachael Wooding, Abi Jaye, Elena Roger and a bootleg recording of Rebecca Storm), the best was Jacqui Scott for me. She had the belting range to sing the part as written and her acting was superb. She really made the transition from young 'tart' to First Lady in such a convincing way. Her persona throughout the performance really altered. Then, when she dies at the end, she became extremely frail - you genuinely believed she was dying. It was the most fantastic performance both vocally and in terms of acting. I think her Peron was Michael Bauer, who was also very good (and went on to play Max in Sunset Boulevard in London for years!!!!) Interestingly, I didn't see any of the original Evas in London, but from posts on other boards that I've read over the years, Marti Webb appears to have been many people's least popular (I thought she was ok when I saw her years later in the UK tour), whereas Stephanie Lawrence seems to be surprisingly popular. I say surprisingly because I just can't imagine her having the vocal power to sing certain parts of the score (e.g. Rainbow High, A New Argentina). Would have loved to hear her sing this score - difficult for me to imagine this with her vocal style, but I know several people have said how good she was in the role (the best London Evita, according to some). Great post. Abi Jaye is the favourite of the ones I've seen live. (Elena Roger, Abbie Osman, Louise Dearman, Rachael Wooding, Madelena Alberto plus two more whose names escape me). I love love LOVED Abi. She was such a total complete bitch. Yet somehow completely relatable (make your jokes here)... sang it beautifully, looked the part and totally embraced the role. In my review back in the day as a theatre critic, I described her Eva as "definitive"...
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2,763 posts
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Post by daniel on Aug 9, 2017 21:55:09 GMT
I've only seen Madalena Alberto and Emma Hatton, and much preferred the former. Would've loved to see Louise Dearman had I gotten into theatre a couple of years earlier!
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243 posts
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Evita
Aug 10, 2017 14:20:03 GMT
Post by musicallady on Aug 10, 2017 14:20:03 GMT
Let's hear about people's favourite Evas over the years and the reasons why you felt they gave the 'best' performance. From the Evas I've seen live (Jacqui Scott, Paula Simpson, Madalena Alberto, Marti Webb - twice, Rachael Wooding, Abi Jaye, Elena Roger and a bootleg recording of Rebecca Storm), the best was Jacqui Scott for me. She had the belting range to sing the part as written and her acting was superb. She really made the transition from young 'tart' to First Lady in such a convincing way. Her persona throughout the performance really altered. Then, when she dies at the end, she became extremely frail - you genuinely believed she was dying. It was the most fantastic performance both vocally and in terms of acting. I think her Peron was Michael Bauer, who was also very good (and went on to play Max in Sunset Boulevard in London for years!!!!) Interestingly, I didn't see any of the original Evas in London, but from posts on other boards that I've read over the years, Marti Webb appears to have been many people's least popular (I thought she was ok when I saw her years later in the UK tour), whereas Stephanie Lawrence seems to be surprisingly popular. I say surprisingly because I just can't imagine her having the vocal power to sing certain parts of the score (e.g. Rainbow High, A New Argentina). Would have loved to hear her sing this score - difficult for me to imagine this with her vocal style, but I know several people have said how good she was in the role (the best London Evita, according to some). Paula Simpson and Becky Norman, bith alternates were the best I've seen.
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2,132 posts
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Evita
Aug 10, 2017 14:35:09 GMT
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Post by richey on Aug 10, 2017 14:35:09 GMT
The two I have most enjoyed were Louise Dearman and Emma Hatton on the tours. The first I saw was Marti Webb on a tour years ago and she was dreadful. I remember being very disappointed with Elena Rogers, thought she was very screechy.
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370 posts
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Evita
Aug 10, 2017 15:07:08 GMT
Post by hitmewithurbethshot on Aug 10, 2017 15:07:08 GMT
Live: ***Hannah Grover*** (cannot stress this enough, she was incredible) Emma Hatton
Bootlegs: Christina DeCicco Caroline Bowman
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884 posts
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Evita
Aug 10, 2017 17:11:50 GMT
Post by lonlad on Aug 10, 2017 17:11:50 GMT
Emma off both shows today, apparently (she was definitely off at the matinee) --- necessary vocal rest
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Evita
Aug 10, 2017 17:32:49 GMT
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Post by Deleted on Aug 10, 2017 17:32:49 GMT
Ive not seen many stage Evas bit agree Abi Osmon was brilliant, conniving and complete bitch. Although for me Madonna has been the best Eva ive seen
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449 posts
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Evita
Aug 10, 2017 19:02:49 GMT
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Post by SageStageMgr on Aug 10, 2017 19:02:49 GMT
Ive not seen many stage Evas bit agree Abi Osmon was brilliant, conniving and complete bitch. Although for me Madonna has been the best Eva ive seen I hated Abbie Osman in this... but I rather liked her as Galadriel in Lord of the Rings
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Post by Deleted on Aug 11, 2017 6:33:37 GMT
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632 posts
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Evita
Aug 11, 2017 10:52:18 GMT
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Post by Oleanna on Aug 11, 2017 10:52:18 GMT
Goodness, can we get that in London please!? A shame really, if Kenwright hadn't brought this tour in twice in the past few years, it would have been a wonderful opportunity to have the Hal Prince production play the ENO for a limited season. Now, sadly, I wonder whether there'd be the appetite for it...?
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Post by Deleted on Aug 11, 2017 12:36:15 GMT
Goodness, can we get that in London please!? A shame really, if Kenwright hadn't brought this tour in twice in the past few years, it would have been a wonderful opportunity to have the Hal Prince production play the ENO for a limited season. Now, sadly, I wonder whether there'd be the appetite for it...? Those were my thoughts exactly - such a shame!
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315 posts
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Post by Scswp on Aug 11, 2017 13:14:34 GMT
No, I don't think there would be the appetite for more Evita in London (or regionally) tbh. Also, having seen the original version several times (as well as the newer versions), I doubt newcomers to the musical would prefer the older Hal Prince version nowadays. There was very little staging to this version and virtually no set to speak of. I think people would expect more of a set now, given the prices for tickets.
However, there were certain images/motifs that were memorable (e.g. The revolving silver door in 'Goodnight and Thank-you', Eva singing 'A New Argentina' in a dressing gown beside her and Peron's bed (a motif of how she had arrived in this position), Peron's game of musical chairs using rocking chairs, the 'High Flying Adored/Rainbow High' dressing sequence and, of course, Eva's final broadcast with just an armchair and a clutch of microphones). Iconic images these were, some of which are sort of maintained in the newer productions
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18,699 posts
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Post by BurlyBeaR on Aug 11, 2017 15:20:07 GMT
And eventually we'd have "so bored with this version" as we do with West Side Story.
Even if people dont like every production at least its evolving.
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3,057 posts
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Evita
Aug 11, 2017 17:48:26 GMT
Post by ali973 on Aug 11, 2017 17:48:26 GMT
So apparently the Australian remount is the third stop on an international tour. It'll first open in South Africa (Johannesburg then Cape Town), Tokyo and finally in Sydney. Prince wants to take it to Broadway. Given that the Broadway revival did so so around 2012, I wouldn't be surprised if it ends up there in 2019 or so. But Hal Prince beware- this time Evita needs to be played by a beltress. Essentially, he'll have to cast a Patti LuPone clone for this to work in New York. Jackie Burns?
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