I read her a book a few days ago. She praises Mandy tremendously and they''ve done recent concerts together. \
Most mystifying is that she does not mention Bob (Juan Peron) Gunton at all. He''s not in the index. They were together in Evita for well over a year. How THEY got along is the question!
There HAS to be stories about the original run of Evita! Come on theatre queens!!!
I met them both in San Francisco when it opened there. He was beautiful and she was great, both were incredibly nice to us. Sorry I don''t have anything bad to say.\
You have no idea how sexy was then, with the beard and all.
When did the sexiness evaporate? He is one of the least physically attractive old men I can think of.
R5, leaving out that personal pronoun at the end gave me hope that Patti is naturally hirsute.
During the LA tryout Patti was a mess. She got bad reviews (and, in fact, fell on her ass during "Buenos Aires" on opening night, as she did on many other nights, too). LuPone simply isn't a dancer, and the number had been choreographed for someone who was.
There was a rumor that Hal Prince was petitioning Equity to let them bring over Elaine Paige as an emergency measure, which only fed Patti's insecurity.
Patti's alternate, Terri Klausner, was both a singer and a dancer, and aced the "Buenos Aires" number (even if she wasn't as sharp an actress as Patti). That didn't endear her to Patti.
What really caused Patti to spit blood, however, was when the sit-down LA company opened at the Shubert only four months after she opened the Broadway company (to mixed notices). Loni Ackerman, who also was a dancer, got across the board raves (a couple of them claiming that LA had the best Evita - all the critics had of course seen Patti a few months before). She was out for blood after that.
LuPone thrives on drama and tension (as does Patinkin) - Gunton does not. He's serene and confident and stays away from nutcases like Patti and Mandy.
I guess I always assumed Patti got great reviews since she won the tony. Here are the other nominees, Was someone better than La Lupone? She was really the only Iconic role of the bunch. %0D\
Winner - Patti Lupone (Evita)%0D\
Nominees: Christine Andreas (Oklahoma!)%0D\
Sandy Duncan (Peter Pan)%0D\
Ann Miller (Sugar Babies)%0D\
You won''t CAAAAAAAAARE if she loves you it''s been done beFORRRRRRRRRRE!
R8 is quoting verbatim from PL''s book. What a shill.
Better to ask how much she despised Mandy''s replacement, alcoholic cocaine addict Jim Stein.\
Now there''s a bunch of tawdry stories!
LuPone had few friends in the original production and, in truth, she probably had none. When she entered the theater, she went directly to her dressing room, usually speaking to no one. When she wasn''t on stage, she was holed up in her dressing room. When it was time for an entrance, an ASM escorted her to the stage and on she went into her scene. When she was finished, back to the dressing room.%0D\
Rinse and repeat.%0D\
She spoke to no one. No one spoke to her.
I remember someone once saying that she was often high off of coke. In fact one of her performances at a night club during the run of Evita which is on youtube was very.... High to say the least.
Bullshit, r11. Most of that''s not in LuPone''s book. The only thing she talks about is how much she hated Klausner (not naming her) because she felt she was an "Eve Harrington," and about the closing LA performance, which she couldn''t finish (Klausner did Act Two for her). She also mentions that it was finally in Australia that she got the reviews she felt she deserved for Evita.\
You won''t get her to admit she wasn''t up to the dancing in Evita, and she certainly didn''t mention the Elaine Paige rumors, or the fact that Ackerman triumphed in LA so soon after she flopped there.
I think Patinkin is super talented.
[quote]Ewwww... if so, thank God not fruit came of that union. Can you imagine what would have crawled forth from Patti''s womb had they procreated%0D\
Was that the birth of Yoda?
[quote]I think Patinkin is super talented%0D\
I liked him in "Sunday in the Park with George" ...co-starring with Bernadette Peters.
Patti has got to be the ugliest, most unpleasant bitch in the theater. For someone with only middling talent she seems to have a very high opinion of herself and that revolting "voice" of hers.
I have worked with Patti and found her to be funny, self-effacing and loyal. She is also fiercely dedicated to her work and isn''t shy about giving her opinion, but she really couldn''t be a nicer person. But being a strong, opinionated woman in this business automatically makes her a bitch I guess.
"Can you imagine what would have crawled forth from Patti''s womb had they procreated?"%0D\
It would have burst from her chest, yodelling all 36 previously unknown verses of "Mammy" - in Yiddish.
Patti LuPone was always an acquired taste.
R11, does Patti refer to herself in the third person throughout the book too?
Yes, well that R20 and the fact that she is a bitch.
The only thing I could ever STAND her in was Evita. Her "unique" delivery of lyrics, her "personal interpretation" of everything RUINS it for me. And her voice is not that good. She ain''t no Merman, that''s for sure. Not sure why she is a "theatah stah," actually. Like Elaine Stritch, she seems to have risen to fame by sheer willpower, alone. And she is fug, infinity, too. Now, I know that all sounds totally cunty (and lord knows Ethel Merman and Mary Martin were no lookers!) but there is just something offputting about Patti LuPone to me in a way that other Broadway divas isn''t and wasn''t.
I don''t understand all the Patti hate, though again I don''t know much about her.%0D\
Saw her in Gypsy and her performance was electric.%0D\
Afterwards, she signed every one''s Playbill at the stage door. There were a lot of people and it took about 20 or 30 minutes. She seemed very gracious.
Who? Who? Poor WHO?
Everyone else on the planet outside the NYC theater queen club
"Being a strong, opinionated woman in this business automatically makes her a bitch I guess."\
No, R20. What makes her a bitch, among other things, is her rampant ego, plus her insistence on always painting herself as a victim and as someone who has had to triumph over adversity (i.e., other people) in achieving her successes. If you doubt me, read her ridiculous memoir.
Love, love, love Mandys voice.
STOP FANNING THE FLAMES OF PATTI HATRED!!!!!!!!!
My guess they got along well considering that they are touring together now.
Good for her, R32. The goon was rude and selfish, ruining the experience for everyone. I''m glad she ripped the asshole a new one.%0D\
Obviously the audience appreciated her putting a stop to it.
R20 is lying.
Angie Biddle Duke, the renowned ambassador, who was charg%C3%A9 d%E2%80%99affaires in Buenos Aires during the Peron years said when he saw Patti play Evita, it was uncanny how much she was like the real Eva
I don''t know what it is about Patti Lupone, but whenever I hear her name (okay, when I read her name on DL; I know no one who ever mentions the name for me to hear it), I get a mental image of a close-up of a pair of snug cotton, soft-pink panties, hugging a vagina, with a man''s finger teasingly running along the lips.%0D\
I swear to fucking God. And I have NO idea why.
Please Stop Mentioning. . .That Woman!
Well, you know what they say, R35: If Angie Biddle Duke says your Eva is uncanny, it MUST be!%0D\
Madonna (Rolling My Eyes and Needing a Fahn)
She was fab in Sweeney Todd in 2005.
Life Goes On.
Patti Lupone's "Rose's Turn" - to say nothing of her "Everything's Coming Up Roses" - was one of the most exciting, transcendent, spot-on, magnificent performances I've ever seen in NYC, in 40 years. I'm talking about the Bway version of GYPSY, not the City Center summer run, which was fun enough, but nowhere near as wonderful as Lupone's Bway run. She was amazing. I don't know what you all expect from a star performance. Lupone is unique, and as such she is sometimes badly cast and/or self-indulgent. The same is true of Raul Esparza. But she has power, and when she's on, she's worth every penny of the outrageous prices the Bway theater charges.
As for Mandy:
1. There was no cuter boy than Mandy Patinkin for a long, long time.
2. His performance in SUNDAY IN THE PARK WITH GEORGE - along with Peters's - was another of those never-to-be-forgotten NYC theater moments. He was spectacularly good. His "Finishing the Hat". . . well, I don't have enough cheesy adjectives to describe it, but it WAS all that.
correct me if I''m wrong but Evita was Patti''s big break on Broadway so wouldn''t it be unlikely for her to act the diva back then? I can understand it now, but not then.
Sorry R34, not lying even a little bit. She is one of the nicest people I have ever had the pleasure of working with. I think the people who are lying are the ones who seem to be certain that she is a bitch. I would love to hear first hand knowledge of her bitchiness, and not "my friend said" or some post from a theater fan board.
She was terrific in Evita, Anything Goes, good in Sunset (but just wrong for it), brilliant in Pal Joey and Can-Can at Encores, and actually very good in Women on the Verge. \
But she STANK to high heaven in GYPSY. She was actually better in Chicago where Lonny Price directed her. Once Laurents and his crappy direction got ahold of her, there was no hope, and she gave a dreadful performance.
I saw Mandy in SUNDAY and he was crappy. I''ll never forget him using that awful falsetto to sing "All things are beautiful, Mother..." and then doing the dippy wacky voices for the two dogs--yuck. And he managed to be so sanctmonious, too.
Patti can have a sense of humor about herself. It''s not often, but she does. She can laugh at herself.\
Mandy, on the other hand, has NO sense of humor about anything, and especially about himself.
Was the stage reinforced with extra strong material when these two played together in EVITA? I mean, the sheer weight of their egos combined would send most venues crashing down.
I''m trying to decide if R19 is either Bill Smitrovich, Terri Klausner or Joanna Gleason.%0D\
Or maybe it''s someone from "Les Mis".
Like Joanna Gelason would be surfing this site.%0D\
R20 is totally lying.%0D\
To answer this threads question, crazy "gets" crazy. As such, the two of them are quite fond of one another.%0D\
They must get along. LuPone and Patinkin are going on the road in a series of Broadway themed concerts next year.
When Mandy kissed Marc Kudish in THE WILD PARTY, he bit him so hard on the lips,he drew blood.%0D\
And he slapped Toni Collette or it might have been that she slapped him.%0D\
No love lost there.
R20 = Dale Hensley
I think its ok to opposing opinions about a performer but for Christ''s sake, give the women her due just for the amount of work it took to get herself into a position where she could be considered for a lead role in a huge show. Say what you will - LuPone paid her dues and earned her divadom and ego.%0D\
I have issue with no talents who show up on the scene and cop the diva attitude when they have brought nothing to the table. And Broadway is filled with a lot of them these days. they don''t learn to play the house because they''re miked to high heaven. In 30 years we won''t be sitting through Jenn Gambatese''s revival of Gypsy.
Good point, R51. Thing is, she actually SHOWED UP that way. Looong before she earned it. %0D\
And R50 is probably right. Gross.
Did she have Teri Klausner fired?
What was the deal with James Stein? What did he do prior to Eva? How'd he get the part?
The only way to get a part is to show up that way. And could someone post pictures of Patinkin when he was "the cutest boy"?
[quote]She was actually better in Chicago where Lonny Price directed her.
R42, Patti was never in CHICAGO, you numbnuts!
r42 meant the city Chicago not the musical r57(you numbnuts!)
From Walter Kerr's New York Times review of the original Broadway production (1979):
[quote]The use of Che Guevara for the purpose seems to me approximately as opportunist as Evita's own manipulations. Not because, factually, he
wasn't there at the time, had nothing whatever to do with the Perons. But because he is most often employed to make certain that we won't go developing a crush on Evita ourselves.
[quote]This last possibility seems a most unlikely one in any case, given what we do know about Eva Peron before entering the theater; it is at once accented by actress Patti LuPone's leering tongue, her firmly set jaw, and the ice water that plainly runs in her veins. (Miss Lu Pone sings the role well,
and moves with a rattlesnake vitality.)
It's hard not to think that some of the perception of LuPone comes from her association with this role, arguably her most well known performance. People forget as well - the entertainment industry is not for a one second an easy place to work. There's no doubt that some of the humiliations she suffered while en route to Broadway in this production (which were well known at the time and, in the end, part of her triumph), informed the ways and methods she employs to protect herself, thrive and survive in the industry.
People outside the industry carry on about someone's personality or behavior in the industry as if they know all the circumstances surrounding film, tv or theatre production. You don't. You don't have a clue. The majority of you wouldn't last 1/2 a day on set much less the long and arduous process of casting. Most of what actors learn, on their feet, is how to protect themselves, how to deal with the pressure and how to make sure that their work is representative of their full capability - all of which is a very tricky business especially since your work requires that your instrument be vulnerable and fluid as well as allowing yourself to be affected by other's behavior (your acting partners). You have to maintain a delicate sense of all components and yet maintain your individuality because when the reviews come out, it's always blame the actors even if the writing or directing is at fault. They always push the actors out front - the people with the least amount of creative control - as if they are somehow primarily responsibility. Professional survival is a bear; I'm sure that informs some of LuPone's behaviour as well.
People like to think that actor's work is play. It's not. It's much closer to mental and emotional torture. But when it works, it can be a rewarding experience. And then a lot of effort goes into avoiding the pitfalls.
[quote]The use of Che Guevara for the purpose seems to me approximately as opportunist as Evita's own manipulations. Not because, factually, he wasn't there at the time, had nothing whatever to do with the Perons. But because he is most often employed to make certain that we won't go developing a crush on Evita ourselves.
It's true that Ernesto "Che" Guevara had nothing to do with the Perons, but he "was there." He was an Argentine and didn't leave Argentina until 1952, the year of Eva's death, when he went on his "motorcycle diaries" tour of Latin America. I get sick of people always thinking he's Cuban because of his later association with Fidel Castro and the Cuban revolution of 1959. In fact, he was nicknamed "Che" by his Cuban comrades because of his habit of using the Argentine interjection "che" in conversation. He was never called that in Argentina nor was it a childhood nickname.
Anyway, the musical never makes him a character in Eva's life story. He merely narrates the story, putting in his two cents here and there. In fact, the synopsis makes it clear:
[quote]"There is no evidence whatsoever that Che Guevara ever met Eva Peron or became in any way involved with her, but the character Che in EVITA is based upon this legendary revolutionary. He was, however, an Argentine born in 1928 and would therefore have been 17 when the Perons came to power and 24 when Eva died. He became strongly opposed to the Peronist regime during Eva's lifetime, and it is not unreasonable to suppose that his later activity in Cuba and elsewhere was in part a reaction against the government he had known in his youth."
In other words, Ernesto Guevara was from a well-to-do family who were critical of the Perons. He was never politically involved during this time, but I'm sure the Peron's administration shaped him. This is what the musical was aiming for -- a former, iconic Argentine criticizing another former, iconic Argentine. It would be like a musical about Hitler being narrated by Albert Einstein, two world-renown historical figures from the same country though neither met nor was directly involved with the other's story.
BTW: I realize Hitler was originally from Austria, but he ruled Germany.
Terri Klausner undermined me!!
[quote]She was terrific in Evita, Anything Goes, good in Sunset (but just wrong for it), brilliant in Pal Joey
Ugh, no. I saw that, and she was awful--she was still enunciating hardly at all--classic Patti Mushmouth.
This is what she sounded like on "What is a Man?":
Whaaa izza man
Izzee a stimoolunt?
Goo' forra harrr
Baa' forra nerves
Naacherz mizzake sinzza wuhlld begaaan..
Whaaa makez me liiii'?
Whaaa makez me giiii'?
Whaaa izzis thing call' maaan...
I saw her Gypsy and I thought she was terrific. She's a legend and I wanted to see her for myself. It was a terrific performance.
Stan' back, Bweno Arry!
Beecaw, yuwann' no waach gonna' ge' im' ee
Dimmy up widda heed windja nod ebba nod ebba do me!