Evita

I didn't say I hated the design. In fact I said I rather liked the tour.

So from what I can gather, that particular passage that is repeated in that clip is where most Eva's will sing it up the octave, as you'd expect. That "he supports you" phrase is heard twice (I think) in A New Argentina before you get to that final one, and it's there I believe that most Eva's keep it down the octave, ever since the Kenwright production started, anyhow. I'm sure it's to preserve their voice so as to not sing that hard phrase 3 times in quick succession.

I know I quoted you jgblunners but the rest is just my opinion, not directed and you or anyone! haha. No one bar no one has the robust vocal stamina of Patti LuPone so in my eyes, it's a little unfair to compare. We were spoiled with her being one of the very first!!

I saw the tour twice, one with Emma Hatton and once with Natalie Langston. I could've sworn that they both followed that pattern in A New Argentina: first 2 high phrases sung down the octave, final one sung up. However, when I saw it in London last week, Emma sang down the octave the whole time. So I'm not sure, it could be a show-by-show basis. Seth Rudetsky once said that Patti LuPone had said that she knew if she was going to have a good vocal show by "screw the middle classes", so I'm sure the women know their own voices well enough to know what they have to do to get through Evita!

And moving onto the other conversation about Madonna, I started watching the film a couple of nights ago for the very first time. It's really enjoyable and well made with great performances, Madge included in my opinion. They obviously needed her to carry the film off and that she did. It's a very understated performance and let's not forget that Eva was not a nice person by any means. I don't think Madge plays it wooden, but more ruthless. I really don't care that the keys were transposed for her. It works much better on film to not have her belting her tits off and the lower keys help establish Madonna's more subtle take on the role. The supporting cast are also great, some of the song changes are a little weird but it all works in the end.

Can anyone tell me if La Hatton does all performances?

Who is now the alternate Eva? I gather Natalie Langston isn't doing the London run. Has the understudy been promoted or has a new alternate been bought in?

Natalie is doing the London run, it seemed at one point she wasn't but from her social media it looks like she is.

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!  

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. 

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.