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Evita New York


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#11 Carmella1

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Posted 24 May 2012 - 03:11 PM

I only wish I could get in to see Elaina - but alas, Evita is one of the hottest tickets in town at the moment and I can't get in.


Jim I get an e-mail every day from TKTs and its been on 40% off for a few weeks now.  So if you want to see it you certainly can.

It is also a rush ticket.  So if you want to the prices are down.

They have also changed the character of Che.  He is no longer the revolutionary Che Guevara he is a PG everyman. That changes things up. Not for the better.

#12 Elliott

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Posted 24 May 2012 - 05:20 PM

View Postsjh11, on 21 May 2012 - 04:33 PM, said:

Excellent post. I think LuPone has criticised the score of Evita since she was in it, too. I think part of the problem is that people get so used to the cast album that they find anything else difficult to deal with. The fact that the Broadway critics appeared to know the show so well, around two decades after it finished, rather betrayed their snobby views on the source material.

Indeed, Patti has said on several occasions that the score was incredibly difficult to sing because the high notes apparently sit in the awkward region between the top end of the chest voice and the bottom end of head voice. She said that all she had to do was miss a single note and it would throw off her vocals for the entire week.
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#13 Kathryn2

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Posted 24 May 2012 - 09:49 PM

View PostCarmella1, on 24 May 2012 - 03:11 PM, said:

I only wish I could get in to see Elaina - but alas, Evita is one of the hottest tickets in town at the moment and I can't get in.


Jim I get an e-mail every day from TKTs and its been on 40% off for a few weeks now.  So if you want to see it you certainly can.

It is also a rush ticket.  So if you want to the prices are down.



Well, I was in New York last week and it certainly wasn't up at TKTS. I have the TKTS app, and having checked that it's not up today, either. The Rush tickets are just for students, so no good for everyone else.

#14 Carmella1

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Posted 25 May 2012 - 01:54 AM

I can only go by what I receive in the mail this is what I received.  Maybe its not every day but has been there.

Wednesday, May 23, 2012
Live performance events available today at
TKTS South Street Seaport and TKTS Downtown Brooklyn

EVENING SHOWS

A STREETCAR NAMED DESIRE - 50% (8:00 PM)
ANYTHING GOES - 50% (8:00 PM)
CLYBOURNE PARK - 50% (7:00 PM)
END OF THE RAINBOW - 50% (8:00 PM)
EVITA  - 40% (8:00 PM)
GHOST THE MUSICAL - 50% (8:00 PM)
JERSEY BOYS  - 50% (7:00 PM)
JESUS CHRIST SUPERSTAR - 50% (7:00 PM)
MAMMA MIA!  - 50% (8:00 PM)

#15 Jim

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Posted 25 May 2012 - 06:02 AM

Just because Evita appeared on TKTS means nothing... More than likely it was Mon or Tues night when crowds are the smallest in NY.  The fact that last week Evita was a t 97% capacity, broke ANOTHER house record at the Marquis Theatre and grossed over 1.5 million for the week pretty much proves its a hot ticket

#16 Carmella1

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Posted 25 May 2012 - 05:20 PM

Fine.  Its a big hit.  And it was a Wednesday as you would have seen had you read what I put up rather than reacting.  I don't really care.  Let Ricky and Elena win their Tony's.

Wednesday, May 23, 2012
Live performance events available today at
TKTS South Street Seaport and TKTS Downtown Brooklyn

#17 Kathryn2

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Posted 25 May 2012 - 09:36 PM

To be fair, I only checked TKTS at Times Square, since that's where we were. I guess it's less busy at the other locations.

#18 The Scorpion

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Posted 26 June 2012 - 02:50 PM

The brand new cast recording was officially released today. You can actually stream all the tracks for free on http://music.aol.com...es-full-cds/#/2 if you're curious as to how it sounds.

I haven't listened to all of it yet, but I do have a few quibbles with it. Some of the tracks are identical to what was sent to the Tony voters last month, which is unfortunate because I was hoping they would be polished/refined. There are a few places where the leads crack in their vocals and no attempt has been made to fix this. Likewise in 'You Must Love Me', there's a strange noise which should have been edited out that wasn't. My main beef with this recording is that the orchestra sounds very tin(n)y -- compare, for instance, 'Buenos Aires' on the 2006 London album and this new recording and you'll see instantly what I mean; a lot of the beautiful new orchestration has been watered down and replaced with weird electronic synth. I don't think much of RUG but one thing's clear: they are extremely good at getting decent a rich, orchestral sound on their recordings, thanks no doubt to ALW being particularly fussy in that area (the 2006 album was even delayed because ALW insisted the orchestra laid down the instrumentals all over again, as he didn't like the first take). I couldn't quite work out when I saw the show at the Marquis whether the orchestra was smaller than it was at the Adelphi, but it wouldn't surprise me. Here though the orchestra is definitely considerably reduced compared to the 2006 album. And for some strange reason it sounds very muffled. Maybe it will sound better when my CD copy arrives and I play that? There's definitely a vibe of this being recorded in a small studio, which I didn't get from the 2006 recording. And inexplicably (and very regrettably), the beautiful, haunting choir in the 'Lament' is missing, even though this still exists in the actual production.

Apparently to compensate for the substandard orchestra, the tempi of all the songs is considerably faster. This is in part a reflection of the fact that the score is played much faster on Broadway and the fact that the London album was in places far too slow, especially compared to what happened live. But while it suits some songs like 'Buenos Aires' and 'A New Argentina', others like 'Don't Cry For Me' and the 'Lament' sound a bit rushed.

Elena Roger and Michael Cerveris, and especially Rachel Potter, are all great (although I prefer Elena on the 2006 album; her voice seems to have thinned out on Broadway -- I didn't notice this live on Broadway, but I do notice it on the recording), but Ricky Martin delivers some cringeworthy moments when he doesn't sing, such as his speeches in 'Buenos Aires'. At least live you could ignore his non-existent acting by focusing on the visuals, but sadly you can't do that with the recording. His many fans, who I suppose are the ones keeping this show alive at the box office, seem to love him though. But Martin is the main culprit for the show's lack of bite in this incarnation; it all sounds very happy and the threatening air of corruption has evaporated.

Nonetheless I'm very glad this production finally got a full recording. I just don't think it lives up to the actual show. It seems these days we either get a great orchestra but a highlights-only CD (such as the 2006 recording), or a full recording but many shortcuts (as with the new recording). Is this because of how expensive it is to produce these recordings? Shame.

#19 Doogie Hoser

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Posted 26 June 2012 - 10:42 PM

View PostThe Scorpion, on 26 June 2012 - 02:50 PM, said:

And inexplicably (and very regrettably), the beautiful, haunting choir in the 'Lament' is missing, even though this still exists in the actual production.

Apparently to compensate for the substandard orchestra, the tempi of all the songs is considerably faster.

I was so disappointed the choir was eliminated from Lament... so stupid... it lifted that number into something memorable.  

I agree the pacing is Evita FF... don't like it at all.   I will buy selected tracks.  But if you're going to do it, do it right.   This wasn't done right.  

The changes they made in New York from the London revival don't do the show any favours at all.

I simply don't get the Cerveris worship by so many.  I think he's as adequate as the other hundred Perons of the ages.  The only one who ever impressed me was Philip Quast.

#20 The Scorpion

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Posted 27 June 2012 - 10:31 AM

View PostDoogie Hoser, on 26 June 2012 - 10:42 PM, said:

The changes they made in New York from the London revival don't do the show any favours at all.

Do you mean orchestrally or things direction-wise in the actual production? Some things in the theatre were improvements, as I detailed earlier in the thread.

Quote

I simply don't get the Cerveris worship by so many.  I think he's as adequate as the other hundred Perons of the ages.  The only one who ever impressed me was Philip Quast.

Yes, Quast was probably better in the role. He had a stronger voice and, moreover, looked far more like Perón than Cerveris. I do really like Michael Cerveris as well though from an acting point of view. He's really done his research into the part.

What I really don't get is the intense dislike on the part of the Broadway audiences for what is a thrilling performance from Elena Roger. Maybe not quite as thrilling as it was in London, but still very, very good. The disparity between her all-out raves in London and the tepid response on Broadway is quite shocking. And it all centres on her vocals. I really do not understand how many theatre fans who post on sites like BroadwayWorld say they prefer the alternate. I listened to her on YouTube and she sounds not only very very...well, yanky...but it sounds like she's channeling Wicked or something. It's a very cookie-cutter-type sound. In fact so many Broadway performers sound like they're channeling Wicked. And she sounds just as "shrill", if not more so. How they supposedly prefer her over Elena I really cannot fathom.




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