Andrew Lloyd Webber's Evita

Regarding the decision to give “Another Suitcase” to Eva, I’m not any more supportive than any die hard fan of the stage musical- but Alan Parker specifically wanted to paint a more sympathetic Eva compared to the stage productions. “Another Suitcase” was part of the method of making her more sympathetic. It’s not like they were planning on giving the song to the Mistress but then Madonna went all bitchcakes about someone else getting a song.

It is a well established practice that a new song is written for the film version. Songs from the stage show are not eligible for Academy Award nominations- eligible songs must be original to the film. It wasn’t a matter of Madonna demanding it.

They did the same thing for Jesus Christ Superstar, Les Misérables, Chicago, Dreamgirls (MULTIPLE new songs for this one).

Yeah, it’s still available on Amazon.
IRL she was only 13… ew! (If I had been 13 back then… can’t even think about it.)

Tries to chase thought out of her brain

Speaking of which I note no-one else has noticed that the basic plot of Evita is an old melodrama plot.

(Wrote this because of the edit window)

Makes me think I’m the only one who notices it… am I alone here? Of course I’m not saying ALW and Rice pulled from old movies, just that the basic plot is similar to a lot of old movies.

Apologies for doing this but…

Anyone else think the concept album does a very good job of putting across the feel of a dictatorship?

link to lyrics for the concept album

bump

EDIT to bump: I hate it when a thread turns into just the OP talking about the topic so I’m going to throw out something I’ve been thinking about for a while related to Evita.

There are a number of historically-set plays and musicals which have been staged with the cast in modern dress. Am I the only one who thinks a modern-dress Evita would be awesomely subversive? (After all, it would hammer home the point that political strongmen are not just a 1940s thing and that the cult of personality is still a force in politics even in countries that don’t have strongmen. A cult of personality is just an exaggerated version of hyping up a potential leader’s good traits and putting down the bad ones-- or of the massive admiration around especially charismatic politicians.

As an aside, another 1930s politician needing a musical is Fulgencio Batista. He and his wife Marta have often been compared to the Perons, probably because Batista was also from a poor family, of mixed background and rose to the power through a military government. Marta was also called “Marta del pueblo” and “Marta de los pobres.”

Let me say that the score is one of the most challenging I’ve ever played (I play guitar). Switching from electric to nylon-string and back (sometimes during one song–there are supposed to be 2 guitar players), constant time changes…I have to think he got tired of doing straight rock stuff and wanted to do everything that WASN’T straight through.

I’m not generally a pit player, mostly blues/classic rock for me, but playing Evita was challenging and fun.

No Cool User Name, what do you think of the idea of a modern-dress production?

I think it could be made to work quite well. Altho’ the political climate of the time is integral to the plot–the “Rainbow Tour”–

In the production I played, they started with a b&w John Wayne movie dubbed in Spanish. I don’t know if that’s the original stage direction or not, but I loved it.

You know one thing they could do with that is to stage the number as a press conference with the cast (Peron, the cabinet) commenting on the live coverage to the press (Che as a reporter again).

EDIT: And a little audience participation would be an interesting touch IMO (the audience starts to sympathise with her throughout the play and part of it is the crowds getting caught up in Eva’s mystique, this whole persona she’s built up around herself.)

The interesting thing is that there was a play based on the life of Eva Peron before the musical existed- Diamond Orchid/Sparks Fly Upward by the same guys who wrote* Inherit the Wind.* In the play Eva’s name is Felicia Jamas Brazo and there’s a Che-type character named Orton who’s her former lover. Fictionalised versions of the Black Myth of Evita usually include a dissident’s who was the First Lady’s lover.

dissident