EVITA City center

[Plannietink08]

I love the art work for this production! 

 



 

 

[LRey95]

Well, I was quite enjoying Solea’s voice! Then again I’m not very fond of the famous Eva voices to begin with tbh.

The split casting is interesting. I used to envision it when I see Eva actresses who cannot play teen Eva very convincingly. Solea still looks really young to play that 16-33 range, but I liked an interview she did when she said it can help people relate to the character more where the age progression is more pronounced.

[Matt Rogers]

To all the usual negative prognosticators and know-it-alls on here, I saw the final dress of this tonight and it was fan-f*cking-tastic. Your predictions of doom are sadly mistaken. This is an absolutely superior production. 

This is one of the most elaborate Encores that I have ever seen. Full set, full costumes, full everything. Amazing lighting. Amazing choreography.

I don't know who any of these actors are, and I've never heard of the director, but all were great. There are a few directorial moments that caused chills. The staging of Don't Cry For Me Argentina is worth the price of admission. 

PS - They include "You Must Love Me" from the motion picture, and it packs an emotional punch. 

I could go on, but no need for spoilers. I highly recommend this production. 

[TonightsMarquee]

For those who went tonight, what was the running time?

Thanks for the review, Matt Rogers!

[Whoopi Goldberg]

I was there tonight as well. Solea is in great voice and sings the score effortlessly. The directing and choreography is very creative and new and we get to see a full orchestra near the top of the set. The preview video does not do it justice. Go see this. The price of admission is worth it for Solea alone. 

[SouthernCakes]

Follow the set designer on IG and this has suddenly got me excited to see this.

[Matt Rogers]

TonightsMarquee said: "For those who went tonight, what was the running time?

Thanks for the review, Matt Rogers!"

I feel like it was a flat two hours and thirty minutes, but it is hard to know because it started late and the intermission was pretty long. I think it might be closer to two hours and fifteen minutes once they get going. It is a very tight production. 

[Frumious Bandersnatch]

Was also at the invited dress tonight. Echoing the positivity, and I was NOT going in with high expectations. A few thoughts:
1. This piece is so relevant in the age of 45. If there are any “West Wing Weekly” fans on the board, there were more than a few “Trump ayayay” moments, which the audience vocally responded to on several occasions.
2. The sight of Kristen Blodgette’s ass means some damn good sounds coming from the orchestra in front of her, and this was no exception. The score is as thrilling as it can sound.
3. The multiple-Eva concept grated as a commentary device about halfway through. Overall, I thought it was less-successful than the “ghost Norma” in the “Sunset Blvd” revival, although (without spoiling exactly how it worked) there was one song in Act 1 that functioned better than I’ve ever seen as a direct result of this concept, so I’m happy it’s there.
4. Very clever staging from Sammi Cannold, who clearly loves this material. As stated earlier, “Don’t Cry...” is a highlight, as is the opening sequence. She gets the ball rolling, showing us the pathos of an Eva never fully satisfied, even in death. There’s even a moment or two of the concept album reinstated.  Respectful nods to the original Prince staging (is it even possible to make “Art of the Possible” work without the musical chairs?), and some very amusing—frequently humorous—touches throughout.

Show started pretty much right at 7:30 (EDIT—was it later than that?  I rushed in just after quarter past 7, and I didn’t feel like we were waiting too long.  Granted, that was with a trip to the bar, the bathroom, and the hike up to the mezz), and I was on the N by 9:55.

[TonightsMarquee]

Thank you!

[SporkGoddess]

Is Che portrayed as Che Guevara or more of an "every man"?

[R. GreenFinch]

Agreed with all that's been said. It's a gorgeous staging and the performances are stellar. 

Che is more of an "every man," which is personally how I prefer it.

[ErmengardeStopSniveling]

Frumious Bandersnatch said: "2. The sight of Kristen Blodgette’s ass means some damn good sounds coming from the orchestra in front of her, and this was no exception. The score is as thrilling as it can sound."

This wins the award for Best-Phrased Compliment Of The Week.

[j.garcia]

I’m really excited for this tonight after these early impressions! I was fully prepared for another mediocre revival of Evita, its been one of my dream revivals since I listened to Madonna version on repeat in 7th grade, so I can’t resist a professional production no matter how dubious I might feel about it. The only thing I was really hoping for is a stronger Che and Eva than the 2012 production, and it seems like I’ll be getting that and much more.

[brendonratnercasting]

it's always played by 2 actresses 

[JSquared2]

brendonratnercasting said: "it's always played by 2 actresses"

Huh??  Since when?

 

[j.garcia]

While it’s true Eva is always played by two actresses(younger childhood Eva and adult Eva), the interplay of the two, with the younger acting as a invisible commentary, is a new concept that I’m very interested in seeing play out. 

EDIT* my memory of the movie is stronger, did thy include the funeral scene with the father in the stage musical because all I can remember is Ricky Martin’s wispy mustache. A child plays her at the funeral, but doesn’t have much to do beyond that?
 
 

[forgetmenotnyc]

This is a hard call. The ENCORES! formula has always relied on classic musicals, thus the emphasis on full orchestras featuring lush romanticism or razzle dazzle over rock operas? I haven't seen any take on EVITA since "Prince of Bwy" presented a tad of its material (which unfortunately failed to resonate with me) & THE FILM, so long ago! I saw the orig. show in 1980 w/the alternate female lead & then 2nd acted it w/LuPone. Having POB not 'do it for me' actually helped me with accessing this prod. which IMHO falls in-btwn.

Casting-wise I'm really only behind Solea. Jason is not playing Che Guevara , not that the work specifies that, but may get better w/audiences? I just found him unappealing especially because he comes off one-notedly snide & the lack of facial hair or beret or military fatigues get-up just leaves us little to hang-onto. You can see in the rehearsal taping how he makes really unattractive faces when he sings, as well. Maia as young Eva only really sings 'Buenos Aires' & had vocal inconsistencies/probs (as did the Migaldi.) Her multiple stage crosses throughout the later story failed to register much dramatic justification. Enrique Acevedo as Peron is better left with writing nothing.

Music Dir./Conductor Blodgette never turned around to face/engage with the actors & also seemed to not get the most out of her instrumentalists. The best that can be said is she kept the score moving forward at a good clip.

Scenic device of multiple rows of white vegetation (flowers?cotton?) that rise & descend - create some great looks. The orch. is higher than I've ever seen at City Center - giving more stage depth than usual - but that also allows for the dir. & choreographers to do some 'too far back' staging misses.

All in all, there are a few exciting sparking embers glowing here (most all from Solea) - but a bit too many misses to pull this far enough up to be much more than just wishful thinking?

Hopefully things can be elevated/energized a bit more with tweaks & larger engagement because so much IS working here & I would love to see this series score higher.

[Veganmama2]

Could you tell me who the set designer is?

[Veganmama2]

[TotallyEffed]

brendonratnercasting said: "it's always played by 2 actresses"

No.

[SouthernCakes]

Jason Sherwood is the designer!

[Veganmama2]

Thank you , SouthernCakes!

[GreasedLightning]

Anyone attend through TDF? Curious about where the seats were.

It’s not up anymore but hoping it pops back up for next week cause they’ve got tons of seats.

[soulgrrl]

GreasedLightning said: "Anyone attend through TDF? Curious about where the seats were.

It’s not up anymore but hoping it pops back up for next week cause they’ve got tons of seats. "
 

I saw the show last night via TDF and sat in the orchestra,  row O, seats 104/103 (near center).  It was towards the back but the view was great. It’s not a big space so the action didn’t feel far away at all.  Loved the staging and vocals.  Glad I saw the show despite the early negative chatter. For $45, it was a lovely night. 

 

[j.garcia]

Wow, was that a great night of theater! Did everything work? No, but they threw a lot of interesting concepts out there and, if this production had more time to develop, I think it could evolve into a definitive version. As it stands, it has highs and lows. This unevenness did not distract me as it’s almost part and parcel of all Encores productions. 

 

I wish the girl playing young Eva had more to do, I liked the idea of her moving throughout but each subsequent appearance after “Another Suitcase” had diminishing returns, though I found her incorporation at the end really effective. I think if the concept had more time to grow and develop, it would have come off less heavy handed. Same goes for the sexual assault/sexual empowerment themes, I liked the idea but wish I wasn’t beaten over the head with it. 

 

The obvious bright spot of the evening was Solea Pfieffer, whom I had heard about in passing and seen in the Encores Songs for a New World. After last night, I’ll be following her a lot more closely because she was incredible. I cannot imagine her doing this as a regular 8 a week, the role is a well known voice destroyer. The limited Encores style worked well in that regard, she’s singing the hell out of it but I would be very worried I’d she were giving that performance 8 times a week for a year.