Let's be Evita

I’m all the hot crew members that Madonna fucked on the set

Even with all that lighting, they couldn't make her look sleek and glamourous.

She was knocked up. She wasn't fucking anyone.

I'm all the 30 and 40something actors playing the 22 year old Che

I'm Patti's ass. I'm very intimate with the stage floor. The woman can barely keep upright, much less dance.

I’m 30 year old Patti LuPone belting out some of the most incredibly difficult vocals to ever hit Broadway.

There are no 30 year old Broadway actresses who can do what I did. Trust me, I’ve watched.

Nonsense. The score was apiece of cake to Florence Lacey, for one.

*a piece

I’m the same boring “song cycle” structure that Andy used on every show up through Cats.

I'm the cocaine Patti LuP was snorting before, during and after her performances. Her excuse was that the composer hates women and purposely wrote a score that would be extremely difficult to sing.

Given the size of her honker she was going through a lot of me.

I'm eyes, hair, mouth, make-up.

So Lauren Bacall me.

I am the wave from the balcony.

o/.

I’m another suitcase.

I'm a proud member of IATSE who worked on the show its first year. My PTSD group (which includes a great many vets from Nam and Afghanistan) are aghast when I share my war stories. Turns out the Cong ain't got nothing on Patti and Mandy

I’m the Big Apple, wondering how I got into a song about Buenos Aires

I looked up what IATSE stands for: International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada.

That’s a mouthful.

I'm Zaz. Theres no soap like me.

I'm all they wanted. Not much to ask for.

I'm Mandy's insistence on singing in weird funny voices with stereotyped accents so he can take up most of the chorus member's individual lines in "The Rainbow Tour." This is a trick he will play again and again for stage shows.

I'm those things that have come to a pretty pass.

I kept my promise!

I’m the fucking bug spray that Che keeps trying to sell to Evita on the concept album

I’m gone long before this show ever hits a stage

I'm the chorus boy who fucked Hal Prince.

I'm the VD that eventually led to the cervical cancer that killed Evita at the young age of 33.

I'm on the balcony smiling at the crowd after taking off my mask...No, wait.

I'm Evita's fabulous coiffure.

I'm one of Evita's ballgowns.

I'm the original Oliver Stone movie version. That hideous, ungrateful sow, Patti LuP, was offered the part of Evita's mother and turned it down.

I'm one of Evita's modest little daytime numbers.

I’m the poster pleading with R15 to spill some tea.

I'm the score, which was lowered for the film to accommodate Madonna's limited vocal range.

R29 I'm not much of an Oliver Stone fan, but he's a rather bombastic director, so he may have been an ideal choice for the material. Sadly, we'll never know.

[quote]I’m another suitcase.

Then I'm another hall.

I'm "The Art of the Possible." I'm the worst song in the musical, and I was cut down to a single verse in the film version.

Not only that, but the song it replaced on the concept album, “The Lady’s Got Potential”, replaced it right back in the movie.

I saw the stage productions of Evita in both New York and San Francisco probably a total of five times. Listened to the album over and over again. I was obsessed with it for a while, knowing a couple of minor cast members and getting to go backstage in New York to meet LaPone and Mandy Patinkin. I had most of the songs memorized. I've read several books about the real Evita, so interesting what happened to her mummified remains. Geek, I know.

The journey of Evita's mummy.

I'm the "I'm still called a general, but I gave up the sea long ago" joke. I never get any laughs.

I don’t get it.

I'm tea in some tinpot castle.

Oh please, r41. What kind of an invitation is that?

I’m Buckingham Palace, what Argentina’s First Lady deserves.

I'm surprisingly good for you.

I'm Miss LuPone's deep-seated bitterness from knowing that I could NEVER equal Elaine Paige in the same role.

Yeah, you would be

I’m Argentina, and always will be.

[quote]I'm one of Evita's ballgowns.

But, I am THE ballgown, (by Jessica VanKempen and based upon the designs of Christian Dior), R28

The Dior dress

Eva Perón’s Iconic 1951 Dior Gown Which Inspired “Evita” The Musical’s Famous Gown.

Eva Perón began to embrace the Christian Dior ‘New Look’ after her 1947 European “Rainbow Tour.” In effort to transition from her actress persona to First Lady she adopted her signature low chignon, blazing red lipstick and began to acquire Parisian couture. Her favorite designers were Christian Dior and Jacques Fath. Both Dior and Fath kept a dress form in their ateliers with her exact measurements so that they could be ready to work on new custom designs at a moments notice.

When an Italian reporter asked Dior about his royal clients he responded “The only queen I ever dressed was Eva Perón.” When a musical was written about her life in the 1970’s, Andrew Lloyd Webber gave a nod to this designer/client relationship in the song “Rainbow Tour” in which Eva sings “I came from the people, they need to adore me. So Christian Dior me from my head to my toes. I need to be dazzling, I want to be rainbow high. They must have excitement, and so must I.”

Eva used fashion to her advantage and could always be counted on to make a glamorous statement. Having grown up poor, she felt that having the most exquisite and expensive wardrobe helped her compete with the wealthy women who despised her. Some designers created a special Evita collection in addition to their seasonal collections, because if their rich Argentinian clients found out they were dressing Eva Perón they would no longer buy from them.

One of Eva’s favorite styles to wear was a strapless ballgown with a nipped waist and voluminous skirt. She wore this stunning Dior gown on May 30, 1951 just a year before her death, as she attended a national feast commemorating Argentina’s 141st Independence Day. Eva was so heavily photographed in this gown, including photos taken that evening for LIFE magazine that it has become synonymous with her image.

This iconic look inspired the famous white gown worn in stage productions of Evita the musical. In life, Eva never actually wore a ballgown to give speeches on the balcony of Casa Rosada. She wore elegant tailored two piece skirt suits.

Understandably, the dramatic Dior gown re-creation worked better for the musicals visual impact and key art.

Fabrics for Dior’s gowns were chosen for their solidity, accentuated by lining them with percale or taffeta. Eva’s gold gown appears to be made from silk and endless layers of pleated taffeta and covered in gold pailettes which disperse with gradation at the mid point of the skirt. The strapless bodice features princess seams and a there is a belt cinching the waist. This was paired with an exquisite silk-satin evening jacket featuring a mandarin collar, embroidery and dramatic folded cuffs. Her jewelry was likely by Cartier which was her favorite jeweler. Though Eva Perón remains a polarizing figure in history, her fashionable image will live forever.

I'm the embalmed Evita. I went missing for years while I was on a tour of Europe.

Juan kept me in the coffin in his apartment in Madrid in the 60's and 70's when he was with that stripper slut Isabel who eventually got the job I wanted.

They say the bitch got in the coffin with me sometimes to absorb my energy. How would I know? I'm dead.

[italic]So Lauren Bacall me, anything goes[/italic]

I'm behind the jewelry counter, NOT in front.

I'm Lauren Bacall. Don't I get a fucking royalty from this POS?

I'm the chorus member who acts as one of Evita's dressers, slapping the fur stole over her shoulders from behind on the beats of "dressed up" in the line "The rainbow's gonna tour, DRESSED UP, somewhere to go!" in "Rainbow High." I somehow wow everyone every night by this simple, easy action.

I'm the Pope, and all she got from me was a rosary and a kindly word.

I’m the gutter theatrical

I'm LuPone's dressing room. I reek of old pastrami, cigarettes and used tampons.

I’m the long losht screen test Ken Russell shot of Liza’s audition

We're the millions of Americans watching this commercial in 1980 and asking, "who the heck is Evita?"

I'm the movie-version lyric to "Rainbow Tour" -- "She's Our Lady of the New World with the golden touch." I was originally "She's a new world Madonna with the golden touch", but, you know...

I’m her only good parts. Guess where I am, gays.

I’m the Forbidden Broadway satire “Don’t Cry for me, Barbra Streisand”

I had to be updated when Madonna was cast in the movie

You're right R25. So I'm Juan or one of her previous "boyfriends" whose uncircumcised junk held onto that HPV VD and ended up killing poor Evita.

That dress at R30 is just fabulous ! Sexy yet ladylike . If I were a young woman Id dress like that ,and I bet you'd be beating men away with a stick . So feminine,so pretty .

Her midsection looks like a sausage in that dress.

I'm Julie Covington, and you may know me from "Rock Follies." I sang the role of Eva on the original concept album but turned down the show. What was I thinking?

I'm Elena Roger. The Brits loved me, but the Americans thought I croaked out the score. At least the gays came to see Ricky Martin.

I'm Derin Altay. I followed Patti on Broadway. There's no recording ever showing my version and I barely ever worked again.

I'm Teri Klausner and I drove Patti crazy. I still have the title of doing the first American preview for a sick Patti thus introducing Eva to Americans. I barely worked again either.

I'm Patti, privately referring to Madonna's performance as "Velveeta".

I’m the soldiers in the movie showering in their underwear.

I'm Patti. I loved the show until I was fired from Sunset Boulevard and then I rewrote history and only say negative things about the show and everyone involved (except Mandy.)

I'm Madonna. I beat out Michelle Pfeffer and Meryl Streep for the role of Evita.

A gold-digging whore who fucked her way to the top playing a gold-digging whore who fucked her way to the top, How apropos.

I'm Elaine Paige and I had a huge triumph when I opened the premiere production of "Evita" in London. When the pre-Broadway try-out on the West Coast seemed to be faltering a bit, Hal Prince begged U.S. Equity to allow me to come over and replace Patti.

You didn't beat me out for the role Madge dear. I withdrew from the film 7 years prior to you doing it because of a spat I had with Oliver Stone.

I'm V arms!

I'm Glenn Close in the upper balcony.

This should have been ME! I will seek my revenge one day.

o/

I'm the rotting ovary.

Glenn honey your were in Barnum that year not the balcony of Evita.

Take your medication that helps you remember things.

Could she sing then too?

I acted the part Patti. I didn't just stand there looking disoriented and belt out loud notes like you did.

I'm rain-BOW high!

I'm a second-rate queen getting kicks with a crown.

I’m your squint.

You must love me, as I seem to have become part of the permanent tunestack.

[quote]I'm Julie Covington, and you may know me from "Rock Follies." I sang the role of Eva on the original concept album but turned down the show. What was I thinking?

According to ALW I became increasingly hesitant to commit to a show that might seen as glamorizing a fascist, and finally bolted.

I'm Jane Ohringer, the mistress. I gave up showbiz and went to law school.

I was barely audible in the original production.

Also, I sang it, like I wasn’t paying attention.

I'm Irish pop star Andrea Corr. I was cast in the movie as Juan Peron's mistress, only to have my one big number, "Another Suitcase in Another Hall" snatched away and given to the Old Hag. I ended up with only one line!

I'm the "South American" accent that Juan Peron affects on the OBC album. I'm very lonely, as none of the other voices sound like me. Still, I'm better off than my poor friends: the horrible "upper-class English" accent that sounds distinctly lower class and the "Spanish" accent for when Eva goes to Spain. Both of them are voiced by Mandy Patinkin's strangled, histrionic falsetto.

I'm Mandy and Patti neither of whom bothered to show up to the performance I saw as a kid.

I'm a descamisado waiting for another magical moment or two.

DAYcamisado!

I'm Agustin Magaldi. My act hasn't changed much.

We're her father's ONLY (and true) family.

"Other" family, our middle class ass. That whore and her mother were gutter trash.

Oh, I shall be a great Vice President!

I'm Ken Russell refusing to use Elaine Paige in the film version because she looks like Barbara Windsor on screen.

I'm the unprintable curse word that was supposedly Barbra's answer to Ken Russell offering her the movie.

I'm the brief but torrid fling Patti and Mandy had early on in the Broadway run. She was coked to her gills, though, and may have mistaken Mandy for Kevin.

I’m the tambolas, at which Evita will NOT help the homeless once a month.

I’m the Foundation, which will justify EVERYTHING!

I'm Kim Wilde and I'm going to do the movie!

I’m “Eight shows a week, two matinees,” not only the scheduled performances, but also a line of lyrics from the show.

I’m the balcony of the Casa Rosada.

🎂 Did someone up thread mention cake ?

I'm Jonathan Pryce. They fucked with my hair and teeth so much I look like Count Dracula!

I’m the bauble that can’t be brushed aside.

IIIIII'mmmmmm

theeeEeeeEeeeEeeEIIIIIIIIIIIIIIIIIIIIIRRRRRRRR

SAAAAAAAAAAVVVIIIIIIOOOOOOOOOORRRRRRRR!!!!!!

I'm Cosmopolitan Magazine which did one of the 1st for the American audience's highlights of Evita Peron's life.

I'm Julie Covington's version of Rainbow High.

What's the real reason Michelle Pfeiffer didn't get to play Evita in the film version? Too "white bread?"

Michelle Pfeiffer singing Evita with pictures of the real diva.

I'm Tim Rice. I wrote the lyrics. I am also a 6 foot 4 man who had an affair with the midget leading lady Elaine Paige. She only came up to my groin even when she wore high heels, but that worked out very well indeed.

R108 I’m the fur used in the scene. I will only last few weeks because they way Patti uses me but at least I get applause every night.

We're Fortune and Fame; we were never invited in, but never the less....

You can post all the videos you want, I ain’t gonna listen. Every time I listen the tunes are bored into my brain for a month. How does he do that?

I am Miss Lupone's TONY that was presented by....

We are the other lyrics that got discarded before Rice and Lloyd Webber decided to just go with "Don't Cry For Me, Argentina".

I am "It's Only Your Lover Returning" and my friend here is "All Through My Crazy And Wild Days".

Julie Covington did sing all three versions, bless her, but everyone seemed to think "Don't Cry For Me, Argentina" was the lyric that should stay.

I’m dressed to the nines, but at sixes and sevens.

Why was there never a follow up musical called Chevita, where Eva is a shadow figure on the unfolding life story of Che’s rise to political power and fall from grace?

r119

whatever the fuck that means

I AM EVA PERON!

For without me there would be no story!

María Eva Duarte (7 May 1919 – 26 July 1952), better known as María Eva Duarte de Perón, Eva Perón and Evita, was the wife of Argentine President Juan Perón (1895–1974) and First Lady of Argentina from 1946 until her death in 1952. She was born in poverty in the rural village of Los Toldos, in the Pampas, as the youngest of five children. In 1934 at the age of 15, she moved to the nation's capital of Buenos Aires to pursue a career as a stage, radio, and film actress.

She met Colonel Juan Perón on 22 January 1944 during a charity event at the Luna Park Stadium to benefit the victims of an earthquake in San Juan, Argentina. The two were married the following year. Juan Perón was elected President of Argentina in 1946; during the next six years, Eva Perón became powerful within the pro-Peronist trade unions, primarily for speaking on behalf of labor rights. She also ran the Ministries of Labor and Health, founded and ran the charitable Eva Perón Foundation, championed women's suffrage in Argentina, and founded and ran the nation's first large-scale female political party, the Female Peronist Party.

In 1951, Eva Perón announced her candidacy for the Peronist nomination for the office of Vice President of Argentina, receiving great support from the Peronist political base, low-income and working-class Argentines who were referred to as descamisados or "shirtless ones". Opposition from the nation's military and bourgeoisie, coupled with her declining health, ultimately forced her to withdraw her candidacy. In 1952, shortly before her death from cancer at 33, Eva Perón was given the title of "Spiritual Leader of the Nation" by the Argentine Congress. She was given a state funeral upon her death, a prerogative generally reserved for heads of state.

Eva Perón has become a part of international popular culture, most famously as the subject of the musical Evita (1976). Cristina Álvarez Rodríguez claims that Evita has never left the collective consciousness of Argentines. Cristina Fernández de Kirchner, the first woman elected President of Argentina, claims that women of her generation owe a debt to Eva for "her example of passion and combativeness".

R121 Actually a brilliant use of idioms on the part of Tim Rice that always made me smile, she is dressed to perfection, but still a hot mess, very fitting for Eva Peron.

English idiomatic phrase "sixes and sevens" goes back years, ages if you will. It describes a state of confusion or disarray.

To the nines shouldn't require an explanation.

I'm the Forbidden Broadway parody with Lupone in "Master Class" reading a note from an actress who is "having tremendous vocal difficulty with her newest role".

The actress turns out to be Madonna, who has been filming the movie version.

Lupone growls, "Screw the movie version. I'll never accept it. And I'll never do another Lloyd Webber show again. And as for you, Madonna, wait till you start to breastfeed and your pert little titties start sagging!"

I'm the audience watching the film and wondering "huuuuuuuuuh?"

Did anyone else also study the libretto and score in High School before seeing it on Broadway as I did in 1983 for my Humanities elective course? It was the class everyone took because each year you got to go on a bus to the city for the day and were free to run around NYC on your own and then meet for the show in the evening at the theater before heading home. During the drive through the tunnel my teacher left us with the sage advice not to stare at anybody too long or they might kill you and a business man told a group of us at Rockefeller Center about five o’clock in the evening that we’d better leave quickly lest we’d get murdered there. Luckily youth at that age feels immortal. Within the same week’s time the same teacher would also take the NHS to see a different Broadway show and we got to see Joesph and the Amazing Dremacoat as well and she gave the same advice driving in through the tunnel.

I'm me. I'm a 9 year old growing up in the tri-state area, and the ads for Evita featuring Patti LuPone run several times a day, for many years, and for long after Patti leaves the show. They only stop when the show closes in 1982. I never knew her name.

Until six years later, I go to see a show called Anything Goes. My friend tells me the girl from the Evita ads is in it. I'm blown the fuck away by her performance. I realize she's the greatest Broadway performer of her generation.

Viva La LuPone!

I’m the youngish gayling, at the time, going to see the film Evita released on Christmas Day on the Upper West Side of NYC, where there were a least a total of five drag queens dressed as Madonna as Evita in the audience. As all good Jewish Christmas celebrants do we went out for Chinese food afterwards. Oh, to go back in time and celebrate Jewish Christmas in NYC, it may never happen in my life time again...

I’m Tim Rice and it is in my conctract that my name will be before ALW’s.

I’m Ricky Martin, oddly grinning my way through the revival.

I’m the fact that it won’t be easy and you will think it strange.

I’m Brecht. Why the hell are so many critics calling this show "Brechtian"? Have they ever seen anything I’ve written?

I’m a cassette tape of the OBC recording. I was created by holding up a tape recorder to the speaker at a friend’s house. In the middle of “Rainbow High”, you can hear the friend’s mom calling for him in the background.

I will be played until I fall apart

I think Michelle Pfeiffer dropped out because she didn't want to travel overseas to film because of her children.

Reportedly she had already gone thru costume fittings and make-up and wig tests when she bowed out. It was originally slated to be shot on Los Angeles soundstages and some exteriors in Mexico but then Alan Parker received permission to shoot in Argentina and Budapest, which Pfeiffer wasn't keen on doing since she was a new mom, etc. She would only do the film if it remained close to home for her.

"“I wish that I could have done ‘Evita,’ but not doing it was the right choice at the time,” she says. “I finished ‘Dangerous Minds’ when I was seven months pregnant, then I started doing demos for Oliver Stone, who was set to direct ‘Evita,’ but then I had my son and discovered that it would be made in England. The timing was so wrong…Actually, I liked the version that Madonna did, which was different from what Oliver had in mind, and I thought she did a great job.”

Nevertheless, floating around the Hollywood screening room circuit, there’s a tape of Michelle Pfeiffer singing “Don’t Cry for Me Argentina.”

“Ah, don’t talk about it,” she cringes. ”The strange thing this is, my son doesn’t like me to sing, and I think it was because I sang all those ‘Evita’ songs when he was in my belly. I think I was trying to hit those notes, and he was in there going, ‘Arrrgh!’"

I am Rita Braver from CBS. I think the show's name is pronounced "Aveeda".

I'm high.

I'm flying.

And I am FUCKING adored!!!

I'm Faye Dunaway in the TV movie. I could have sung that part.

Elaine Paige played the "sixes and sevens" line ironically - coy when directing it at the public, smirking when they buy it.

She did subtext beautifully in this show, despite her belting singing - whereas Patti just belted. Paige's "I'd be Surprisingly Good for You" is likewise full of disguised false modesty, with a clear note of triumph as she begins the last refrain. She also played "Waltz for Eva and Che" with one hand bracing her abdomen at the hip, and you can hear Eva's pain in some of her emphases.

That's why it was a triumph.

I'm the Ministry of Public Works Building in downtown Buenos Aires.

I'm her corpse, found buried in a Milan Cemetery in 1971. That year, I'm transported to my husband's villa outside Madrid, and they deposit me on the dining room table. His third wife is taking out the rusty hair pins from my hair, loosening the tresses, and combing them out. There's some damage to me, but overall I look pretty good for a woman who's been dead for almost twenty years!

I saw both Paige and LuPone perform the role. Lucky to catch Paige as she was often out owing to vocal problems. Friends in London at the time were unsuccessful in catching her performance. They did see Marti Webb who succeeded her and reported good things about that performance. Joss Ackland who was the original Peron in the West End mentions Paige’s vocal problems in his autobiography. It must be an extremely difficult sing and to do it multiple times a week in a long run is probably courting problems.

Both actresses were terrific in the role I thought. LuPone’s vocals were simply phenomenal whereas for understandable reasons when I saw Paige she seemed to be protecting her voice. Wonderful memories of both actresses - no pun intended.

[quote]There's some damage to me, but overall I look pretty good for a woman who's been dead for almost twenty years!

And better than Madonna.

[quote]Joss Ackland who was the original Peron in the West End mentions Paige’s vocal problems in his autobiography.

I think originally Paige was doing eight shows a week. They finally cut her down to six. Patti Lu was lucky that by the time the show came to the US, they had already determined that the actress couldn’t handle eight shows per week.

That "Waltz for Evita and Che" at the end should have disqualified her instantly, R112.

I'm the 20 seconds before rushing in

I'm Barbra turning down the movie because I will not play a fascist. Madonna can have it!

Well, I'm just your average John Q. Public who wondered (and still wonders) how in HELL did Madonna--of all people, beat out Meryl Streep for that role...

🎶 Don’t cry for me,

I’m all the angry United States Argentinians writing in to NYC’s Channel 5 theater critic, Stewart Klein, saying how shocked they are that there would be a *musical* glorifying the fascist Perons.

I’m also Stewart Klein reading some of these letters on air.

I'm 30127.

I'm the movie's Accounting Department...

Budget $55 million (equivalent to $89.66 million in 2019)

Box office $141 million (equivalent to $229.85 million in 2019)

I’m the enclosure, it’s such a shame she wandered into me!

I'm the perfect amount of Raging Bitch with which Patti delivers the lines:

"who the hell does the king of England think he is? Tea at some tinpot castle of his -- WHAT KIND OF INVITATION IS THAT?!!"

We're the Descamisados, Peron's marching with US now, bitches!

R40

Evita: Did you hear that? They called me a whore! They actually called me a whore!

Che: Senora Peron it's an easy mistake, I'm still called an admiral yet I gave up the sea long ago.

Certain military officers continue to use their rank socially long after they've retired from service. The admiral no longer sails the seas but still is referred to as if the did; Evita once was a whore (well at least in the musical), but now is married to Juan Peron and thus "respectable". However Argentine and European society don't see things that way, and continue to refer to Evita by her previous profession.

Joke flies over most people's heads because it is terribly elitist. It's just piling on the constant theme from musical; Argentine aristocrats despised Evita, and attacking her morality was one of their favorite weapons.

There is a true story told by a man who lived in Argentina during times of Juan and Evita Peron. He says yes, the aristocrats hated Evita with a white hot passion. They used every trick in the book and never missed an opportunity to humiliate Senora Peron. The man tells of being invited to tea at Harrods by a group of Argentine nobility when who should walk in but Evita Peron. They rose en masse and departed at once rather than be even in same room as Evita.

I'm Gary Morton. Thank God I talked Lucy out of doing this. No one wants to see her with blonde hair.

The quote was "Barbara Windsor on speed." Russell didn't object to Barbara Windsor on screen.

The actress hasn't learned the lines you'd like to hear.

On the original Broadway cast album, I always loved the woman who sang, "She still made a fabulous impact, caught the eye." I just liked the sound of her voice and the way she sang that line.

Was it Betty Bucklet?

R158–the line was quoted as “I’m still called a GENERAL, but I gave up the sea long ago.” That makes no sense. As corrected, it hardly requires an explanation.

Argentinian elitists’ feelings about their whore First Lady are, sadly, rather easy for most Americans to imagine these days.

The full line is "At sixes and sevens with you." She's not saying she's a hot mess; she's saying that her new wealth and fame have put her at odds with the everyday people, though she would still like them to consider her one of them. That's what the song's about.

I should have said it's "At sixes and sevens *with you*," not just "At sixes and sevens."

R162 - Mandy sings that line.

I'm Jon Peters assuring Robert Stigwood he can get Barbra to sign.

We're the New York drama critics. Very few of us liked "Evita" when it arrived on Broadway in fall 1979. In fact, we liked "Sugar Babies," "Barnum," and "A Day in Hollywood..." quite a bit more. We even liked Sandy Duncan as "Peter Pan" more than we liked Patti as Eva. Yet "Evita" and Patti beat all those others at the Tonys. That's because the wiser Broadway community saw the brilliance of the production that we had failed to see.

"Deed you hear zat? Zey called me a whore. Zey act-shlee called me a whore."

"But Senora Trump, it's an easy mistake. You flashed your pussy in filthy stroke mags not long ago..."

I'm Patti being interviewed on Live at Five saying how she gets nasty letters from people who saw the matinees and were disappointed she wasn't there. She explains the producers won't let her do 8 shows a week.

She then proceeds to tell how she went through the Staten Island phone book and called people asking are you the Joe Pollock who wrote me that nasty letter!!!!

She pronounces pollock like polak though and offends polish people.

I had it on VHS as a kid.

I'm the 180 degree mood whiplash that occurs immediately after "Don't Cry for Me, Argentina", the one saving grace of that boring dirge of a song. Things suddenly become terrifying, and we see what a lie it is we've just been sold.

"I am only a simple woman who lives to serve Peron in his noble crusade to rescue his people! I was once as you are now. I have taken these riches from the Oligarchs only for you! For all of you! One day you will inherit these treasures! Descamisados! When they fire those cannons, when the crowds sing of glory, it is not just for Peron, but for all of us! For all of us!"

...

"But your despicable class is dead! Look who they are calling for now!"

I would swear not, R167.

Were you thinking of the line, "But she suddenly seemed to lose interest/She looked tired," said by the Frenchman (who I don't think was Mandy, either)?

You're not wrong R173, it's sung by a woman, here at 2:39:

I'm the ensemble who all liked Teri Klausner, the understudy better and insisted Teri sang and danced it better than Patti.

Did Teri have an ensemble part in the show?

Yes r177. That is what drove Patti crazy. Instead of just being an alternate who came in when she wasn't there. Klausner asked to be in the ensemble. So she was there in the dressing rooms making friends with the rest of the ensemble and always there on stage breathing down Patti's neck that there was someone else right near by who could step in at any moment.

Patti called her an Eve Harrington but I think Patti is just a paranoid bitch who hates everyone.

In her book she lists the complains about the ensemble of Anything Goes being of lower quality since it was a non-profit theater that paid lower. She then proceeds to go through the list and saying these people were ok though.....nasty woman!

I'm an actual movie in which "actress" Eva Duarte appeared. I am seen briefly at the top of Hal Prince's original production. Recent revivals tend to omit me so as not to be seen as copying from Hal's incomparable staging.

Sure r178. So angry about a woman you’ve never met. What remarkable things have you done with your life? None?

I'm this 1989 article about Meryl getting the part that also name drops Madonna.

[quote]She then proceeds to tell how she went through the Staten Island phone book and called people asking are you the Joe Pollock who wrote me that nasty letter!!!!

She never answered my letter.

[quote]What remarkable things have you done with your life? None?

Sweetie, she's just an actress. A good one, but still just an actress.

R174

Frenchman certainly wasn't Mandy P. (thank God). While the accent is a bit heavy on Maurice Chevalier it certainly is better than anything MP could likely come up.with. Checked liner notes from by OBC Evita CD set and it only lists company for "Let's Hear It For The Rainbow Tour", there's no indication of which name (and the list is long) sang what.

As you will see in this bootleg of the OBC, at about the 3 min mark, the line “She still made a fabulous impact, caught the eye” is sung by both Mandy and a female chorus member at the same time.

Sorry r180 I guess I sounded a bit harsh. I don't hate the woman just pointing out what she herself has said.

Read her book. She pretty much hated and openly criticizes every person she ever worked with. She liked Mandy and David Mamet. That's about it.

She reserved most of her venom for Corky.

I'm the reasons why she won't succeed, which I don't think she really needs.

Holy shit r129 did you see it at Sony/68th? My family saw it on Xmas day as well - we bought advance tickets for that day. I have no idea about the drag Madonnas, though (I also can’t remember where we had dinner after, though I wouldn’t be surprised if it were Shun Lee West). I was home from college.

I'm The Simpsons parody of Rainbow High.

I'm The Simpsons parody of Rainbow High.

Shun Lee West is a bit chichi for Jewish Christmas.

R192 I’m only Jewish on my father’s side lol. Actually back then we still went to Church Xmas eve.

But a lot of people I know actually go to the movies Xmas Day. Movies don’t open on that date for nothing.

But I digress.

I’m Carolina Herrera and I’m a dead ringer for Evita.

I'm Disco Evita!!!!

R189 Yes, it was at the Sony theater and we did buy tickets in advance, which I think was a new thing back then and very unusual. The drag queens were all sitting in the front row and I think were there in concert with the theater. I’m pretty sure we went to the village for Chinese food on Seventh avenue. It actual may have been the time that we saw Vince Clark and Andy Bell at a Chinese Restaurant.

I'm Skinny Evita

Really, R20? I know Patinkin is an asshole, but FUCK HIM.

I'm Disco Queen Evita.

I remember Olivia Newton John singing it on some TV special.....obviously auditioning for the movie.

They made a lot of little changes like that from album to show, I've noticed R185. Maybe Mandy wanted to sing more lines? Haha. But it makes sense the original poster thought of the woman only, because that is the recorded version and much more likely to be remembered.

There was always so much speculation about who would play Eva in the film version. What about Che?

Did they ever float names for Meryl, Liza or Michelle Pfeffier's aborted versions?

The Karen Carpenter version of Don’t Cry for Me Argentina backed by actual footage of Eva. Karen brings a level of pathos and pain not found in other versions and of course dies a year younger than Peron was at the time of her death.

Gloria Estefan was mentioned about taking over when Pfeiffer dropped out. But the film fell apart I guess. Was Oliver Stone going to direct Michelle?

(Always wondered what happened between him and Meryl. It must have been bad. She really wanted Eva. Had even been talked about for the Broadway version. I've read it was a salary dispute but it is hard to believe Streep would let money keep her from a role she really wanted. I mean she borrowed Sting's recording studio to do her demo.)

Didn't Madonna make the comment that ALW, Robert Stigwood and Oliver Stone were three of the greatest misogynists she had ever met?

google says no r204

ANYWAY

I am a worker, I've suffered the way that you do.

I'm not underestimating you!

(Just do the same thing in Italy, please!)

I’m Madonna’s long-standing fear of ALW. I’m the only fear of another person Madonna has ever felt, as recently commented upon by Madonna herself in an Instagram video saying that every day she showed up on set she expected ALW to fire her and she was constantly paranoid about it.

I think she once said she was scared of Sean Penn's mom too.

I'm-a the wunnaful story that-a the old man don't like to spoil. The news from a-Rome is a-not-a-so-good.

I'm David Essex, and I created the role of Che in London. Because I was a big pop star in 1978, I got first billing, over Elaine Paige. I didn't stay with the show very long, though, and the moment I left Elaine got top billing. As far as I know, the only other Che to get top billing was Ricky Martin in the Broadway revival.

I'm the midget Elaine Paige. I am so short that even standing on the balcony in my big DCFMA number I still had to look up at the descamisados standing below.

You know who I am.

I'm Audra Ann McDonald. Don't tell me a legit singer can't sing Evita because I did. Don't tell me a Black woman can't play Eva Peron because I did. (And very well, by most accounts.)

[QUOTE]I'm Audra Ann McDonald. Don't tell me a legit singer can't sing Evita because I did. Don't tell me a Black woman can't play Eva Peron because I did. (And very well, by most accounts.)

You were cheap, honey. It was a tight budget.

R162 I noticed that line too. The woman sounds like Helen Gallagher ("Sweet Charity", "No No Nanette", "Ryan's Hope"), but obviously isn't her....I think.....

I'm crazy defeated talk.

I wonder if Mandy was nasty to matinee Evita like Nathan Lane was to Vicki Clark when she went on for Faith Prince’s vacation.

[quote]I'm the midget Elaine Paige.

Additionally, I had to have two stage hands lift me up to the Casa Rosada balcony because “the dress” was so heavy I couldn’t climb the stairs with it on.

But they didn’t learn their lesson with that stupid dress for Broadway. Set designer and costume designer weren’t paying attention and at the first dress rehearsal they couldn’t get the dress through the door on the balcony.

[Quote] I think she once said she was scared of Sean Penn's mom too.

It's understandable that Madonna would be intimidated by people who could act.

Juan Peron: [italic]But on the other hand she's slowing down

She's lost a little of that magic drive

But I would not advise those critics present to derive

Any satisfaction from her fading star

She's the one who's kept us where we are[/italic]

Chorus: [italic]She's the one who's kept you where you are[/italic]

I’m the random lyrics Ricky changes in the revival, showing he has little clue what he’s singing and strangely changing the meanings.

“We’re all going to see, [bold]and[/bold] how, she did nothing for years

[quote]“We’re all going to see, and how, she did nothing for years. —Mind you, it does scan better his way

Unfortunately, the phrase “and how” makes everyone think of Spanky McFarland.

[post redacted because linking to dailymail.co.uk clearly indicates that the poster is either a troll or an idiot (probably both, honestly.) Our advice is that you just ignore this poster but whatever you do, don't click on any link to this putrid rag.]

I’m the jewelry counter at Harrod’s

I'm Elena Roger, and wouldn't you know I'd be the only Eva to get to record the role twice, first on a London highlights cast recording and then on a complete Broadway recording?

Poor Elaine Paige didn't even get to record the full score. Because of the success of the double-LP Julie Covington concept album, they were reluctant to make a double-LP recording of the original London cast. Big mistake. Elaine, David Essex and company got to preserve less than an hour of the score on a single LP.

I'm Alan Parker, who directed the film. I have a cameo as a director frustrated by his leading lady's performance. I related so much to the character.

Did Eva Peron ever visit the United States?

R228 No.

R228

Juan Peron was very anti-USA early on in his career, but later on he reversed and sought some sort of relationship. However United States government had Juan Peron's number and didn't trust him an inch.

Besides Evita was already ill during the "Rainbow Tour" and would subsequently die in July 1952. Having only risen to power in 1948 there really wasn't much time for her to have visited USA even if an invitation was extended.

Juan Peron didn't declare war on the Axis powers until March 27th, 1945. He was a bit late in the game to have ever received a welcome in the US. He also had dreams, if no more than that, of Argentina being a financial counterweight to the US in Latin America; again something that wouldn't endear to any administration in Washington.

Besides, his pro-fascist and pro-Nazi leanings were all too evident during and after WWII.

[quote] Besides, his pro-fascist and pro-Nazi leanings were all too evident during and after WWII.

Liz's father welcomed Eva to England, even if it was tea at some tinpot castle of his.

R232

United Kingdom and Argentina had relations long before Juan Peron arrived on the scene. As bit of Evita make clear, and anyone who knows Argentina or Argentine society things were before Peron and still afterwards heavily influenced by Europe and GB.

Much of Evita is pure fantasy, but somethings they did get right. There is a reasons for Che going on about that polo match in Buenos Aries....

"On the 9th February 1935, in Buenos Aires--a polo match, between a team of leading Argentine players and the touring British side. The British ambassador said he had never seen a social occasion quite like it. Even by the standards of Buenos Aires society the gathering at the polo ground glittered. The Rolls' and the Daimlers, the hampers from Harrod's, the clothes, the diamonds, the crystal, the wines, the procession of nannies from England and France. The result of the match? Oh yes-- the home team won, but as the British ambassador pointed out, that did not reflect badly on British horsemanship. Three of the Argentine players were educated at Eton."

Juan Peron rose to and sealed his grip on power by nationalizing many businesses including those owed directly or indirectly by British.

Besides often really bad Argentine Spanish accents, the only other worse in most stage productions of Evita is some form of received pronunciation where Mandy Patinkin and rest try to effect clipped upper class British accents. It often just doesn't work, but since large part of then Argentine aristocracy were British, they have to do something....

Furthermore the Anglo influence explains why certain segments of Argentine society were so hostile to Evita.

Those with French background coming from a nation where mistresses long have risen up to positions of power were perhaps more forgiving. The Italians heavily influenced by Catholic church OTOH were less so. For the British a woman that rises above herself by laying on her back is just beyond the pale. The British of course are a society that is firmly class regimented. Evita was the illegitimate daughter from lower classes, those were two strikes against her out of the gate. Her (presumed) morality simply sealed the deal.

[quote] For the British a woman that rises above herself by laying on her back is just beyond the pale.

NOW he tells me!!

R235

Had to give it to you for that comment.

We're the Criterion Collection doing a laserdisc box set of the movie with extras that have since been duplicated no one else.

Nowhere else, sorry.

The more I learn about Eva Peron, the more I'm convinced that a good part of what was said about her is not true at all, and that she has been the victim of misogynistic smears. Her reputation as a sleep-around or slut, for example. Evidence for that?

I'm the tantalizing combinations advanced by the media for the movie: Franco Zeffirelli directing Diane Keaton; John Travolta, Olivia Newton-John and Elton John as Che Guevara, Eva Peron and Juan Peron, respectively; Bette Midler as Eva; Pia Zadora as Eva; Barbra Streisand as Eva and Elliott Gould as Juan; Sylvester Stallone as Che; Barry Gibb as Che and Meatloaf as Che. Ken Russell Wanted Liza Minnelli and screen-tested her in a blond wig. When he insisted that he could not make the film without her, Mr. Stigwood finally fired him. 'Russell was an insane choice and would have wrecked the film if he had gotten his hands on it,' says Mr. Rice. 'I was relieved when he got the boot.' Mr. Russell could not be reached for comment.

[quote]Besides often really bad Argentine Spanish accents, the only other worse in most stage productions of Evita is some form of received pronunciation where Mandy Patinkin and rest try to effect clipped upper class British accents.

Oh my god, his accent nearly ruins "Buenos Aires" for me, usually I have to fast forward over the central part of the song thanks to that.

Really interesting post, thanks R233. I do remember reading about how a lot of British people went to Argentina in the 20s and 30s to try their luck at making their fortune. It was also kind of a common point of discussion in fiction of the time like Agatha Christie etc.

Argentina really has the makings of a country that could be very strong and wealthy but has been retarded through its periodic dictatorships. I always find that really sad. Similar thing with Zimbabwe, and now Brazil. If they had just been managed better.

^I should be a bit clearer and say "and now with the direction Brazil seems to be heading in".

R239

Far as musical and film are concerned virtually all of it is made up.

Falsehoods start early on and just keep going; Agustín Magaldi likely never met Evita much less was responsible for bringing her to Buenos Aries.

Despite extensive searches even Juan and Evita Peron's worse enemies cannot find a single bit of proof one or both skimmed off funds from Evita's foundations and hid them in Swiss or other offshore bank accounts. Also no, Evita's foundations didn't shake down or outright confiscate funds or property from Argentine society/wealthy persons for her foundations.

The musical was based off of only one book wasn't it? A book that wasn't exactly fair with the facts, from memory.

I believe that's why the movie version is softened somewhat - to attempt to get more of a balance than the original musical had.

[quote]Far as musical and film are concerned virtually all of it is made up.

[italic]Bedknobs and Broomsticks[/italic] got more right about WWII.

Evita Peron foundation funding....

The only "noble" family of Argentina forced to hand over money was the Bembergs, but this was only after their patriarch died abroad and family tried to stiff government on death duties.

Bad politics, hot men.

Spanish spoken with an Italian accent too, which is nice on the ears.

R241

Look up the phrase "rich as Argentines", and you'll have your eyes opened.

While much of that wealth yes was concentrated in hands of certain families or industries, Argentina before WWII was rather well off.

One thing Che's rant does get right in Evita is when he speaks of a country once rich in beef but now the meat is rationed.

Sad thing is in decades since Juan Peron Argentina lurches from one economic disaster to another

There are plenty of good reasons why South Florida and few other areas of USA are flooded with Argentine people, and more would love to come here if they could. IIRC during past few economic upheavals in Argentina USA actually stopped issuing visas for people to travel here because fears they wouldn't go back.

[quote] Argentina before WWII was rather well off. ... Sad thing is in decades since Juan Peron Argentina lurches from one economic disaster to another

Yeah, exactly. It seemed so promising prior to the Perons gaining power and since then has floundered mostly, when if it had continued on its trajectory imagine what it could be now.

I really want to go there one day, when we can travel again. Looks like a great place to travel to.

I'm Indira!!

Which other American cities have Argentinean communities? I really didn't know that about Miami.

R252

Since you asked...

You can take the men out of Argentina, but not Argentina out of the men....

Gracias R253

But Argentine men know how to make money.

I give you Alan Faena....

And his latest RE deal....

R252

More....

Only thing people truly have on Evita is her birth, rise in government of Juan Peron, then her tragic early death. Oh and what happened to her corpse for a few decades before finally being laid to rest permanently.

In Argentina Eva Peron's memory still holds a powerful draw and remains polarizing.

One thing is certain, were it not for Eva Peron the poor, workers, women, and many others would have likely remained second or third class people.

r222 I never got that line

could you explain what Mandy's version meant and how you thought Ricky changed it?

I'm the pretty pass when someone pretty lower class can be accepted and admired.

^But YOUR despicable class is dead! Look who they are calling for now!

We are prisoners, Luis and Valentin. We grew up under the Perons and now we are in an Argentine jail. You will like our musical better because it stars a truly talented actress named Chita Rivera. Chita never falls on her ass while dancing. She doesn't yell at audience members. And she doesn't pronounce Sicilian curses on people when they don't give her what she wants.

Was the Broadway cast recording done in LA or NYC? I wonder why there were changes made between the album and the stage show. I don't like Patinking screwing up "She still made a fabulous impact, caught the eye." Just let the chorus woman have her one line to sing eight shows a week.

It was recorded in LA which put Patti under great strain doing the album by day and the show by night and the fear of missing performances and having Teri Klausner go on ....or what she really feared and was being rumored: she wasn't up to the job and the producers were going to beg Equity to let Elaine Paige come in at the last minute and save the day.

R244

Yes, it was...

"LuPone has stated about her time in the show: "Evita was the worst experience of my life,' she said. 'I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee.'"

"Elaine Paige was originally told she would re-create her role in the Broadway production, however the Actors' Equity Association refused permission for a non-American. Prince attempted to persuade the organisation for a second time when LuPone was suffering vocal problems before the production reached New York. LuPone stated in her memoir that this was nothing more than a rumour started by Prince himself to build publicity. She, however, had her own doubts about that being true."

"New York Times critic Frank Rich stated: "Loni Ackerman, the current Eva Perón, has no discernible Latin blood, but she sings the role better than any of the American Evitas, as well as acting and dancing it with nonstop energy. Anthony Crivello, a performer new to me, is easily the best Che I've seen in New York or London: not only does he have a supple voice, but he also moves with such grace that he lightens the heavy, moralizing tone his character must bear. He's so effective, in fact, that he almost convinces you that there's a sound reason for Che Guevara to be dragged into the Peron saga."

R264

Here ya go.....

Those Dior ballgowns were extremely heavy not just because of often the vast yardage in skirts, but of course materials chosen and often embroidery piled on.

Then you had the issue of all those crinolines needed to support said skirts. Fashion had been there before and it is how the cage crinoline (hooped skirts) came into being. One hoop made from clock wire or thin boning relieved ladies from much of great weight suspended from their waist. Also wire and to some extent boning were more pliable and thus getting through doorways, taxis (horse driven), carriages, etc... was slightly easier.

Final benefit of caged crinolines is they kept fabric away from legs so ladies could manage walking a bit easier. One huge issue women had with the Dior "New Look" was having to deal with all that fabric around their legs, this after the war shortages and rationing had made skirts rather narrow in comparison.

Great long strides were just impossible; women had to learn walking in slow if not almost mincing steps when wearing those huge ball gowns.

Dior really must have hated women; he was either putting them into skirts with acres of yardage or pencil thin; either way free movement was just not possible.

More:

We're the only two video bootlegs of "Evita" with Patti LuPone. It's a good thing we exist, because the Theatre on Film and Tape collection at Lincoln Center did not tape the show until 1982, with Loni Ackerman in the lead.

How did they actually make Patti look pretty in the poster at OP? Did they have photoshop back then?

[quote]It was like Beirut, and I fought like a banshee.

Jesus-fucking-Christ. What a revoltingly narcissistic way to put it.

I'm someone who saw Patti play it in Sydney twice. I loved it so much I went back a second time.

[Quote] It was recorded in LA which put Patti under great strain doing the album by day and the show by night and the fear of missing performances and having Teri Klausner go on ....or what she really feared and was being rumored: she wasn't up to the job and the producers were going to beg Equity to let Elaine Paige come in at the last minute and save the day.

It didn't occur to her that they were spending money to record her? They would hardly throw money down the drain on someone they were planning to fire.

Where was Julie Covington set to play it? Didn't Patti replace someone in Australia? Was it Julie?

If only Lupone had been fired... We'd have been spared her violent outbursts, narcissism and oversinging the last four decades. Not to mention the sight of her tits in the Spike Lee movie. She'd have gone back to Long Island and become a hairdresser or a hooker or something.

I'm the British concept album. I'm much more angry. I say, "Fuck the middle classes, I will never accept them." By the time I reach Broadway, I will be watered down to "Screw the middle classes" so the genteel matinee crowd won't be offended.

LuPone survived Topol. And she's here.

EVITA didn't really make her a star - she has said herself that she's a hard sell. EVITA is a calling card, no doubt. Her voice would have kept her in big roles.

[quote] LuPone survived Topol.

I didn't.

[quote]"Fuck the middle classes,

You get a much more pleasing mouth shape and facial expression with "Screw."

[quote]You get a much more pleasing mouth shape and facial expression with "Screw."

No you don't. "Screw" is a closed lip sound. "Fuck" is an opened mouth sound. "Fuck" is easier to sing than "Screw".

I seem to recall that Ken Russell planned on using David Essex in his film version who played opposite Elaine Paige in London.

Except she doesn't sing either word - she says "Screw."

I’m the revolving door prop on the Goodnight and Thank You song.

I'm the cat that has to run to avoid its tail getting caught under the rocking chairs of The Art of the Possible.

What was Hal Prince so busy with that he didn't properly direct Evita? You have Mandy Patinkin doing a virtual Mel Blanc of different voices. You have Bob Gunton affecting a weird accent and mugging to the audience in Newark. And Patti....well we all know about that situation.

So what was Hal doing that he didn't correct any of this?

I never fool myself, that my dreams will come true. And being used to trouble I anticipate it, but all the same I hate it. Wouldn’t you?

[quote]I never fool myself, that my dreams will come true. And being used to trouble I anticipate it, but all the same I hate it. Wouldn’t you?

I'm surprised that more female singers didn't record this song. It's a nice ballad. I would have even listened to those fruity singers like Joni Mitchell sing it. It's a hidden gem of a song.

I'm Petula Clark's cover version on an album that also had a disco version of 10cc's "I'm Not in Love" on it.

R289 Didn’t the movie hire a pretty girl with a lovely voice from an Irish band to play the the underage mistress of Peron only to screw her out of the song? I want to say the hit song of the bad had the word breathe or breath in it and maybe they were named after a beer brand?

Hidden? Fuck you!

Yes, r291. Andrea Corr of The Corrs.

The underage mistress is probably the reason Disney wanted the distribution rights so badly.

[quote]Didn’t the movie hire a pretty girl with a lovely voice from an Irish band to play the the underage mistress of Peron only to screw her out of the song?

She should have had a better agent. You want the song? You have to put it in your contract.

Oh, the things I learned to put in my contracts over the years.

You should have had a "No Streisand playing in the foyer" clause in your contract, Pats.

I'm Argentina's currency turning to shit only after the movie came out.

Yes, it was said somewhere above that it was Andrea Corr.

Madonna really came off badly in doing that. It was a greedy, insecure move to steal that song. And she was a sucky Evita, anyway.

Andrea Coors only gets to sing the refrain as a reprise, I think this is the extent of her screen time. When you don’t have to have the song as a vocal rest for the lead in the show on stage it can be given to the star. I wonder at what point she found out that it was all she was going to get to sing?

Corr had already appeared in Parker's "The Commitments." She probably knew when she signed on to the picture.

r290

WTF was that?

We're all the tiresome articles trashing almost every post-1965 movie musical in the run-up to the movie's release, essentially rooting (in no uncertain terms) for this to be another LucyMAME. But if it had been, there'd be no movie musicals after it. If it hadn't been for Vadge's male co-stars, it would have been THE trainwreck of the 21st century.

[quote]When you don’t have to have the song as a vocal rest for the lead in the show on stage it can be given to the star.

No, you can't. The song doesn't make sense when Eva sings it. We're shown in the song "Buenos Aires" that she has a huge amount of determination. She WILL make it in Buenos Aires. For her to turn around and sing a ballad about not knowing where she's going erases everything she sang in "Buenos Aires."

[Quote] For her to turn around and sing a ballad about not knowing where she's going erases everything she sang in "Buenos Aires."

Even the determined can have their moments of doubt.

I should have paid attention to how Madonna stole the song. I could have used that tactic in Dreamgirls where *I* should have sung "And I Am Telling You."

[quote]Even the determined can have their moments of doubt.

If there's the time to tell that aspect of the story, then OK. But Evita is a two hour musical and there's not the room to explore that. In a sung-through musical, there's not the dialogue to open that issue and then resolve it.

I’m the Oscar performance of a young Must Love Me by Madonna on the MadonnaQueenOficial2 YouTube channel.

I’m the narrative. I will explain to you what’s happening but not show you. The NYTimes will eviscerate me because of this.

Is there actually evidence Madonna demanded she be able to sing "Another Suitcase in Another Hall"? I'm pretty sure I've heard the director say they chose to do that to give some vulnerability to Evita. You can argue it doesn't really work, but I don't think Madonna had anything to do with that decision, did she?

Boy, we REALLY want to be Evita.

[quote] I should have paid attention to how Madonna stole the song. I could have used that tactic in Dreamgirls where *I* should have sung "And I Am Telling You." —Beyonce

I tried to do that but then I lost out on the chance to be Effie for that reason.

One would have thought BBC, Granada television or someone would have done a TV miniseries on Eva Peron by now.

I'm Patti mispronouncing civilized as civilvised in "I'd be Surprisingly Good for You."

I get through to the final album.

I'm also the kid who looked up civilvised in the dictionary because he thought it was a different word.

They should have cast Whitney as Effie. Lillias White was not fat when she played the role in the revival. Janet could have played Deena.

But Whitney was beautiful. The whole point of the story is the plainer girl with the big voice gets pushed aside for the pretty one with star quality. (just a little touch of star quality!)

Where does the word "civilised" appear in that song?

Where does the word "civilised" appear in that song?

Don't act sad or surprised let's be friends civilivised.

I guess it isn't in I'd Be Surprisingly good for you but in her lines to the mistress.

"Let's be friends, civilized" appears in intro to Another Suitcase Another Hall.

(EVA and PERON arrive at PERON's apartment. PERON's 16 year-old MISTRESS is in bed.)

EVA Hello and goodbye! I've just unemployed you You can go back to school--you had a good run I'm sure he enjoyed you Don't act sad or surprised, let's be friends, civilized Come on little one! Don't sit there like a dummy! The day you knew would arrive is here--you'll survive So move, funny face! I like your conversation--you've a catchy turn of phrase

(EVA turns PERON's MISTRESS out into the hall.)

The most important distinction between Deena and Effie is that Deena is more marketable to white audiences with her light, pop style. And Whitney, with her church background, experienced some of that when Clive Davis was quick to rein in her church tendencies at the outset of her career (some of the gospel type ad libs were deleted from the mix when "How Will I Know" was remixed for single release, for example). Effie is also headstrong and not a Yes person.

Whitney could easily have embodied Effie, just as the seemingly docile Janet Jackson could have essayed Deena.

Effie has to get fatter though (they could have padded Whitney I guess)

Right before And I'm Telling You the brother sings you've been late you've been mean and getting fatter all the time. (She's pregnant.)

Here is Lillias White in a 1980s performance. You can't tell much about her figure because of the loose clothing. Florence Ballard wasn't dumped because of her weight. She had become "trouble."

A lesbian could never sing "And I Am Telling You" to a man.

Nor "Some Enchanted Evening."

"And I Am Telling You NOW..."

Tim Rice's lyrics are really subpar in many parts of this musical, I find myself cringing regularly. I never felt like that listening to Jesus Christ Superstar apart from perhaps a couple of times.

Whitney couldn't have touched this, not with a barge pole.

Holliday would never have worked on screen.

But she could have done it as well as Jennifer Hudson did.

How did this turn into a thread on Dreamgirls?

[quote]How did this turn into a thread on Dreamgirls?

Eva Peron was the original Dreamgirl.

R330

This is DL, what more can anyone say in response?

Just be thankful it hasn't become a thread on F--- No, I won't invoke the name.

I could have starred in Dreamgirls but I was undermined at my audition by Michael Bennett!!!!!!!

Patti Lupone is one of those areas where I feel so out of step with everyone else. I hate her voice, it's frequently off key to my ears, with a really grating tone. Listening to her in Gypsy was painful.

Why does she have such trouble with diction. Is it like a speech impediment? She's fought that reputation her whole career. I think Hal Prince used to leave her notes like pronounce all the syllables!!!

[quote] But Argentine men know how to make money.

[quote] I give you Alan Faena....

Yeah, we'd probably all know how to make money too if we were born into a wealthy textile manufacturer's family.

[quote] Why does she have such trouble with diction. Is it like a speech impediment? She's fought that reputation her whole career.

Gee, I wonder why....

SHCREW THE MIDDLE CLASSHESH

I WILL NEVER AC-SHEPT THEM!

I actually think Liza in a Ken Russell version may have been pretty cool. Look what he did with Ann-Margret in Tommy.

For some reason I seem to remember (not sure if true) that Russell envisioned Liza playing Evita as a film within a film. She'd play Liza learning the role and then they'd go into fantasy sequences for the production numbers. It wasn't going to be a literal telling of the story.

[quote] Look what he did with Ann-Margret in Tommy.

Made her roll around in baked beans and melted chocolate?

He also got a great performance out of her and she did an excellent job singing The Who's rock songs.

and she was nominated for Best Actress by a very conservative Academy back then. They saw some value in her work too.

[quote]I’m another suitcase.

I'm another hall.

I'm taking these riches from the oligarchs only for YOU.

Madonna had no power on that film. She wasn't stealing songs or making any demands. Parker called all the shots and one of the stipulations of her getting the role was that she would follow direction and do as told. ALW kept a tight eye on production and effectively functioned as the "bad cop" to Parker's "good cop" to make sure there were no star trips.

I think Madonna instinctively knew this was the make or break moment she had been pushing for in films and, after having circled the role for a good decade, surrendered to the process and became a real team player.

The end result was terrific reviews, an Oscar winning song and some new found goodwill in Hollywood with talk of her headlining some prestige projects. Courtney Love was also enjoying the same type of success at the time.

Of course she went and fucked all that up by dropping out of that violin teacher biopic and reverting to old form on that God awful Schlessinger film where her ego and control issues sunk any chance of a film career. Swept Away was the final nail in the coffin and even she realizes now she'll never act in front of a camera again.

Quitting Music of the Heart and having Meryl get an Oscar nomination for it must have stung.

Why'd she quit?

Craven told her, "Working with you would give Freddy nightmares."

She wasn't amused.

I’m Eva’s embalmed corpse that was stolen by the Argentinian military.

R347, because Madonna wanted creative control and Wes Craven, who saw this project as his big chance to step away form the horror/slasher genre, said "No way." So she walked, citing "creative differences."

[quote]I'm crazy defeated talk.

Which we, in rehearsals for a regional production, sang as "This is crazy, this fetus talks!". We thought we were oh so clever.

I am Che. I started off being Che Guevara but that affectation was dropped subsequently and it was only implied.

In one particular regional production the bombastic, pretentious director kept pronouncing my name like "Qué".

[quote] Patti Lupone is one of those areas where I feel so out of step with everyone else. I hate her voice, it's frequently off key to my ears, with a really grating tone. Listening to her in Gypsy was painful.

I share your dislike of Lupone's voice. I find it harsh, grating and extremely unpleasant. It's not like I only like pretty singing voices, but something about the tonal quality of Lupone's voice makes me want to tell her to shut up. Part of it is also due to her abrasive, overbearing persona which shows in the way she performs her material.

Patinkin and Lupone are among my most hated theatre performers. I think I could listen to their recording of Evita only once and even then I barely made it through the entire disc.

R352, I'm pretty sure he started off as an everyman in the original album and only became Che Guevara afterwards before reverting to the everyman character.

I'm so glad I'm not the only one, R353!

I think the Forbidden Broadway rhyme of Mandy Patinkin have you been drinkin' is genius.

We're the backs of the poor she won't go scrambling over to be accepted by making donations just large enough to the correct charity.

I'm a weekly radio show. I'm all she has toward the end of the middle.

[quote] I'm Patti mispronouncing civilized as civilvised in "I'd be Surprisingly Good for You."

Just the one, dear?

[quote] I'm Patti mispronouncing civilized as civilvised in "I'd be Surprisingly Good for You."

Just the one, dear?

Shivilisshed?

I'm the Pope. I'm a bit annoyed with my advisors who set up this meeting between me and a whore.

They never would have seriously cast Liza Minelli or Barbara Streisand. Can either of you imagine what their faces would have looked like with Evita's blond, pulled back hairdo? Neither of them looks good with pulled back hair.

....

....

Actors consent to unflattering looks all the time.

Stigwood believed the movie might be a difficult sell so he wanted an international singing star to help thus why Streisand and Minnelli were approached.

It's "defeatist talk," not "defeated," by way.

Yes it was autocorrected. Sorry about that.

[quote] [R352], I'm pretty sure he started off as an everyman in the original album and only became Che Guevara afterwards before reverting to the everyman character.

Colm Wilkinson is credited as “Che” on the concept album. The liner notes refer to him as “a young Argentine student” and later states “Throughout the opera, the the role of Che is that of commentator, but he is hardly an objective one”.

Except for dropping the stupidity about the insecticide, Che’s character did not change much between the Concept Album and the initial staging.

Was Travolta ever pursued for Che?

[quote]Was Travolta ever pursued for Che?

I hope not. He would have been awful.

Given how young Peron's mistress is even when Eva replaces her, why do some of the lyrics in "Another Suitcase in Another Hall" make her sound like a jaded old tart who's already been around the block? At what age is she supposed to have started having her affairs with older men? It sounds creepy.

r374, maybe she went through several men because she just wasn't very good at her job.

I'm in the Broadway cast ensemble who are all credited as Person of Argentina.

R374

If you believe the narrative early on between Evita and Agustín Magaldi though the former wasn't "not very much more than a child" she knew how to bed the guy then twist his arm into taking her to Buenos Aries. Thus it obviously then wasn't young Evita's first time at the rodeo....

In any event character notes for Juan Peron's "Mistress" (she has no other name), gives age range of 16-21.

Jane Ohringer the original mistress as a lawyer.

She must have been very young in the show. Another website she only went to college a year after Evita.

Well at least Evita let her keep the fur!

Am memories, it seems like only yesterday......

Hard to believe we're going on 42 years now since Evita premiered in USA.

And I did the first American performance not Patti!!!

I am, on my best day, the understudy's coked-up understudy.

Why did different Ches have different lyrics to sing in "Santa Evita"?

Banderas sang "Turn a blind eye, Evita, turn a blind eye" in the movie, although his accented singing made it sound like "Turn away and die, Evita, turn away and die."

Many of the stage Ches sang "Get them while they're young, Evita, get them while they're young."

The song is so insignificant that I wonder why it merited a lyric change.

I'm "how they shone." I don't rhyme with "the lights were gone" in Patti's American accent, although I did in London and, originally, in Tim Rice's English head.

[quote]I'm "how they shone." I don't rhyme with "the lights were gone" in Patti's American accent, although I did in London and, originally, in Tim Rice's English head.

They don't rhyme in any accent you maroon. (Which rhymes with baboon.)

R383, it seems to me like the movie version tried to soften some of the harder edges of Evita from the show. To be fair, the original musical was based on one book which was a hatchet job on Eva Peron and not exactly based on fact.

Amazing how a 40-year-old show can still generate so much passion! I saw Derin Altay, Loni Ackerman, and at least one other during Evita's long sojourn in Los Angeles. I saw Stephanie Lawrence in London, and Florence Lacy on a European tour (in Vienna, I think). All were good. But when I pick up a recording, I always go back to Julie Covington and the original concept album. Her "Rainbow High" is simply the best. It also has the longer "Lament" which is one of my favorite numbers in the show. The role really requires an actress who can make you see both sides of the character -the venal climber and the reformer who wants to bring a better life to her people. She really was both. And she is still fiercely loved -and fiercely hated -in Argentina.

In his memoir, Rice was very critical of the non-rhymes in his early lyrics and said he'd often try to revise them for later productions. E.g., "Jesus Christ Superstar's" "Poor Jerusalem": Rice changed the second/third lines below to " You'd see the truth, but you live a lie/But you live a lie" for a 1996 staging.

If you knew all that I knew, my poor Jerusalem

You'd see the truth, but you close your eyes

But you close your eyes

While you live, your troubles are many, poor Jerusalem

To conquer death you only have to die

You only have to die

[quote]The role really requires an actress who can make you see both sides of the character -the venal climber and the reformer who wants to bring a better life to her people. She really was both.

Too bad all Patti LuPone gave us was a screaming Sicilian who fell on her ass while dancing and screamed notes she didn't feel like singing.

I'm M.

Bitter and twisted loosing the role in a film adaptation to Madonna.

I'm M.

Who still had a better shot and better pipes than you ever did.

Merry Christmas, Oscar wi- oh, whoops.

I'm the rainbow metaphor used in Rainbow High and the Rainbow Tour.

This Queen lip syncs to Patti’s audiobook memoir to reenact the audition process of Evita in Jungle Red lipstick to boot!

R310 is still making me laugh.

I'm at sixes and sevens with you.

Hermione Gingold sang I'd Be Surprisingly Good For You to Merv Griffin one evening. And you know what? Against all odds, it actually somehow works! She does a wonderful job with it. There's all manner of subtext happening here, including the fact that Merv is gay. Check it out.

Doll, honey... that does not work in any known or accepted meaning of the phrase. But bless.

R397 No? I think it's really quite good. An old lady with a few tricks up her sleeve seducing a much younger man. She changes the context of the song, but I enjoy what she does with it quite a lot.

Hermione Gingold might have had more success trying to seduce a coked up Patti LuPone instead of the very gay Merv Griffin.

She's not singing. She's croaking.

Oh, God, she's the ghost of Glenn Close to come in the Sunset Boulevard movie.

A Broadway singer croaking? Who woulda thunk.

We would, R401.

R112 I never heard that before. Imagine if the movie starred somoene who could actually sing and act?

I'm the money... which kept rolling in... then rolling out to the weak, to the hungry and to the destitute of all complexions...

Im one of the many lost boys who found evita at a young age. “Remember i was very young then....” My dad brought home the concept album and 8 year old me memorized every word. My mother was the typical 80s mantrap- red lipstick, nails, fur etc and she took me on trips where she’d actively cheat on my Dad. One trip to London in 1981, my mother dragged me to the Prince Edward theater and asked the box office if the show was appropriate for an 8 year old boy. Sure it was, so she walks me to my seat in the orchestra, gives me some cash to buy the silver UK cast album and leaves me to spend a night I’ll never forget It was like Elaine Page was my babysitter for the evening.

R405 Love your story, but Elaine Paige was no longer in the show in 1981. Marti Webb took over full time in 1980, and she was followed by Stephanie Lawrence.

[R406] i stand corrected, it must have been Marti in summer of 1981.

I am Vairst Letty, wondering if I gonna gets a musical about my lifes also. I also come from nothin and sleep my way to the bottom. Ivanka play the beetch meestress who get kicked out. "Hello and goodbye."

Sausage rolls!

I’m her clit, now rub me!

I'm the embarrassingly bad [italic]Simpsons[/italic] parody complete with a two-line cameo by Michael Moore where he adds absolutely nothing to the plot.

I'm the insufferable, arrogant and entitled English cunt, Elaine P, still bitter about never having made it in America and about being a lonely, jilted mistress.

I deserve to be world famous, damn it! I originated the role. No, Julie does not count. I loathe that ghastly Sicilian creature who played Eva on Broadway. I understand one needs to lower one's standards when casting a Latin type but was it really necessary to pick someone from such an inferior race?

I should have been Lady Rice. Why wouldn't he leave his bitch wife? I want to take that undeserved Tony won by that uncivilised Long Island charwoman and shove it up that cunt wife's bottom.

I hate everyone! I need my drink. It is 5 am and I have only had three drinks so far this morning. Where the fuck is my gin?

I'm the marbles in Patti LuPone's mouth.

I'm Patti's fury. There's so much of me I need a head start.

This never gets old. I still love you Patti.

I'm Barbra Streisand and I'd rather play a teenage boy than play some fascist cunt!

I was visiting Argentina around the time Evita was being filmed.

There was tons of graffiti saying “Viva, Evita! Duets Madonna!” (Live on, Evita! Leave, Madonna!)

I'm Meghan Markle

In the late 70's I worked in the travel business. Sometimes I worked as an escort for tours. I took one from San Francisco to Yosemite. There was a couple from Argentina. I told them how much I loved Evita the musical. The woman became very angry with me and told me how awful Evita was and how many people she had tortured and killed. She told me stories about what had really happened. Her family had lost everything and several members of her family been killed or disappeared. She had married an American and moved her. She could not believe that we thought she was glamorous. She knew Evita and Juan Peron personally. I touched her hand because it had touched Eva Peron. Wow, I was very lucky to have met her, even if she hated them. I had seen Mandy and Patti in the production in San Francisco and went back stage to meet them. My God, Mandy was so handsome. They were both very nice and friendly. I have always liked them ever since.

[quote]She knew Evita and Juan Peron personally. I touched her hand because it had touched Eva Peron.

Santa MARIA!

I'm Derin Altay. I replaced Patti LuPone on Broadway and did the role for years but I wasn't very good by most accounts. I married real life Jabba the Hut Paul Gemignani and never had to work again.

You are like the lost Evita, Derin Altay at r421. All the others have bootlegs online except you.

(odd there is an article about auditions for the film I once saw. It says all the stage Evitas were auditioned and Altay was the favorite. I think that is because she was the prettiest of the Broadway ones.)

I'm Karla De Vito, Linda Ronstadt's replacement on Broadway in Pirates and Meat Loaf 's lead female singer for a bit. Somehow there was talk that I was going to do the film.

[quote]all the stage Evitas were auditioned

Did Patti LuPone ever talk about this?

trying to find the article r424 but I found this on Altay which is interesting:

He also talked about auditioning Evitas all over the country and remembered a girl coming in with dark, curly hair who was wrong for the role but, he felt, right for the revival of West Side Story. He told her to fly to NYC because they were auditioning that day. She wound up becoming the understudy to Maria and her name is… Mary Elizabeth Mastrantonio! Excellent talent scouting, Gemignani! At the same audition, Derin Altay came in to sing for the mistress. As she was walking out, she turned around and inquired whether or not they were also auditioning for the role of Evita. They asked her if she could belt an F and she said yes…even though she was a soprano who had never belted before. She auditioned, managed to belt the F, got the role out of town….and took over on Broadway after Patti LuPone! Paul was conducting in the pit and they had crazy romantic chemistry…but they were married to other people. Then, a few years ago, he was in Toronto where she was performing, and he called her up. He found out they were both single… and they got married! Twenty years after they did Evita!

This isn't the exact article I referred to but it mentions Altay being the favorite of the Evitas who were tested.

Patti refused to screentest in 1981 it says. Typical diva behavior from her. I mean if Liza and Meryl tested, Patti could have.

I worked with Derin Altay on a show about 15 years ago- she was a cunt. I have an old audio of her in Evita, I remember it being really poor quality and haven't listened to it in years.

At some point, Derin Altay was the alternate because I saw her at a Wednesday matinee. One day when we can download our memories, I'll download that performance and post it.

Altay was the matinee Evita in LA and then went to Broadway. I think you may be right r428 that they put her in for a few matinees to ease her into the production before she took over full time for Patti.

I can't find it but not too long ago I read an interview with her. She talked about how intimidating it was to replace LuPone and that she only thought she really got a handle in the role years later when she played it in a European tour. Damn. I've been all thru google and can't find the interview.

I am only a radio star with just one weekly show...

[quote] Patti refused to screentest in 1981 it says. Typical diva behavior from her. I mean if Liza and Meryl tested, Patti could have.

Then Madonna doing the movie is partially her fault. She could have prevented it with one single screen test.

Did she do one when she auditioned for [italic]Life Goes On[/italic]?

[quote]Did she do one when she auditioned for Life Goes On?

Yes and it used to be on YouTube.

But LuPone didn’t screen test because she probably knew she wouldn’t get to do the Evita movie. Why waste the time when you know they wanted a star.

Then that just turned into a self-fulfilling prophecy. Like all of those so-called Simpsons “predictions.“

THIS was my screen test bitches!

I’ve seen drag queens use less lipstick.

R431 Yes she did. It was with Bill Smitrovich,, who she hated from the start. The audition lasted for five hours! She excused herself because she was doing Anything Goes. R432 I cannot find it either. Auditioning for the movie, they knew she was able to sing it and she did commercials, they had material already.

LuPony did bitch about being offered the part of Eva's mother when Streep and Pfeiffer were being considered for the title role for the Hollywood Pictures production that Oliver Stone was going to direct.

PLuPony playing mom to Meryl's Eva would have been a camp howler.

Here is LuPone's screen test for Life Goes On.

Here's a double header... LuPone and gay gorgeous Jonathan Bailey being interviewed about themselves. But it's a great read. LuPone is not grinding an axe for once. At least not much.

R439 Thanks for the link. That Company production was one of the very best I have seen and I’ve seen plenty. Jonathan was hot sexy and very good in his role. I saw it right after the opening and his number was super good. Patti was perfect. I loved how differently she sang her number from concert versions. The standing ovations began when it was Jonathan’s turn for curtain call and everyone was already standing when Patti came in. It was excellent ensemble. Jonathan is dreamy.

r440

I keep thinking that Patti sings it the same way she has every other time I have seen her in concerts... maybe it's different in person rather than youtube

[quote]The more I learn about Eva Peron, the more I'm convinced that a good part of what was said about her is not true at all, and that she has been the victim of misogynistic smears. Her reputation as a sleep-around or slut, for example. Evidence for that?

I've studied Eva Peron for over 20 years now. The woman most certainly utilized the casting couch (and then some), which as we have learned is not a myth. She was born poor and illegitimate, which were already two strikes against her, with only a sixth-grade education and no connections nor acting talent. How else was she going to rise above her station? At the time, there were no women in the Argentine government; in fact, women didn't even have the vote or many rights. Not until 1947. Thus, Eva had a lot of hurdles in her way yet somehow she managed to overcome them. She had a determination to succeed at all costs. She didn't care who she hurt along the way. She was a bit of a narcissistic sociopath. A female Trump, if you will, which is why it amuses me that many liberal women admire her. I think it's mainly because she was a woman in power; they rarely examine her politics. But just like Trump she could be cold and callous and had delusions of grandeur and exploited people.

Modern feminists are trying to rewrite her story, because she was a powerful woman, not to mention young, pretty, and stylish; however, she had a dark side (e.g., she advocated the imprisonment/torture of dissidents) that they are trying to whitewash to make her palatable and a role model to young girls/women. The fact is, she really was an angry, nasty person who often used and discarded people to get get ahead. She was no shrinking violet. She learned how to play the game and played it to her advantage, even if it meant sleeping around with powerful/influential men during her modeling/acting days. I mean, Marilyn Monroe had a very similar early career and she most definitely slept around for parts and to support herself. Why wouldn't Eva "aspiring actress" Duarte do likewise?

I'm Paula Abdul. At the height of my popularity in 1989, I am hired to teach Meryl Streep how to dance for Oliver Stone's EVITA which was never made.

R417 It was "¡Fuera Madonna!" ("Get out, Madonna!")

I'm this ensemble that inspired Eva's costume for "Rainbow High" and "Rainbow Tour" in the original Broadway/London productions.

I'm Colonel Anibal Imbert, the man in charge of the nation's entire broadcast network. I was Eva Duarte's last lover prior to Peron. In fact, she dumped me after the charity concert upon meeting Peron. I'm only featured as a non-speaking bit role in the musical and movie.

I am the untreated Syphillis and HPV infections

Streep's version or Liza's directed by Ken Russell might have been pretty great.

Madge's looks like she's trying to hard to pronounce things clearly. (must have been warned about mush mouthed Patti's performance)

Don’t cry for me Argentina!

I think Patti was offered the mother role in Madonna's version not Streep's. She's the same age as Streep.

[quote]I mean, Marilyn Monroe had a very similar early career and she most definitely slept around for parts and to support herself.

And you know this how?

R451 You can't be that naive. Young, attractive, aspiring models/actresses have always been the target for lechers in the industry. It was "Put out or get out!" Both Eva and Marilyn chose to stay. Marilyn's most famous sugar daddy was talent agent Johnny Hyde, who paid to get her teeth fixed and her nose slightly altered and opened up doors for her. It was because of him that she landed the plum ingenue role in ASPHALT JUNGLE, which got her cast in ALL ABOUT EVE.

The difference between Eva and Marilyn is that Eva learned how the game was played and used it to her advantage, whereas Marilyn also did the same thing but it bothered her greatly. Eva didn't care as long as she got what she wanted.

BTW: I have also studied Marilyn greatly. I could write a book on both women if I had the patience to sit down and write one out.

Life upon the wicked stage ain't ever what a girl supposes.

Stage door johnnies aren't raging over you with gems and roses.

Wild, old men who give you jewels and sables

Only live in Aesop's Fables.

Life upon the wicked stage ain't nothing for a girl!

Don't cry for me, Marge and Tina.

R298 the screenplay of EVITA was written by Oliver Stone (and later added to by Alan Parker) long before Madonna was ever cast in the role. Madonna had no say in the film whatsoever. All she did was act/sing the part.

"Another Suitcase in Another Hall" was given to EVITA in the film because they needed to flesh out her story. In the musical, her pligh

[quote]It was because of him that she landed the plum ingenue role in ASPHALT JUNGLE.

Director John Huston owing money to board his horses might have had more impact than Hyde in getting Monroe the role of Angela.

Ethel Merman IS O/!

R457 the fact is, she used him, even if she didn't want to marry him.

the role of the mistress and the song Another Suitcase...always got criticism in the stage version. Critics wondered why a minor character was given a big moment like that.

Jane Ohringer the original in NYC was quite bad the day I saw it. She never seemed to work again and became a lawyer. I found her online once. Time is cruel to pretty young women.

[quote]the role of the mistress and the song Another Suitcase...always got criticism in the stage version. Critics wondered why a minor character was given a big moment like that.

1. Because they needed another female in a heavily male show (Peron, Che, Magaldi all have songs, they needed another female song)

2. It gave the actress playing Evita five minutes rest

I'm the song Dont Cry For Me Argentina that my sister thought Eva Peron sang from her balcony in real life.

My sister's question to me in the parking lot as we were walking to the car after we saw the movie? Did she sing it in English or Spanish?

R461... good point... the song before is Buenos Aires, which is a big, demanding, aerobic number. The song also bridges time from Eva's becoming to mistress to reaping the benefits of mistress.

[quote]The song also bridges time from Eva's becoming to mistress to reaping the benefits of mistress.

It also shows how ruthless Evita was. Chucking another girl out onto the street. The mistress is only supposed to be about 15 years old. Compare that to later when all the children are singing about Saint Eva.

He, he was the one bonking her.

[quote]the fact is, she used him, even if she didn't want to marry him.

Marilyn never used any man to get where she did. In fact, she lost her contract at Columbia because she turned down Harry Cohn.

Marilyn turned down numerous marriage proposals from Hyde that would've made her financially secure. She told a few people while she loved Hyde, she wasn't in love with him. Marilyn visited him in the hospital and had left when he died. Hyde's estranged wife had Marilyn's things put on the roadside the day after the funeral. Which she also forbade Monroe from attending, but MM did anyhow.

I'm a descamisado. I expect her to outshine my enemy—the aristocracy!

She'd better not disappoint me.

R467 just reminded me of how goddam clunky the lyrics in this musical are.

Tim Rice makes Leslie Bricusse look like William Shakespeare.

Did Tim Rice come up with some of those lyrics while being given head by his leading lay, Elaine Paige?

The practice is called “opening up the throat” and it is de rigeuer for actresses who sing... or, so I’ve been told.

I always thought if a tin can could sing, it would sound just like Elaine Paige.

[quote] [R461]... good point... the song before is Buenos Aires, which is a big, demanding, aerobic number. The song also bridges time from Eva's becoming to mistress to reaping the benefits of mistress.

There are three songs (“Goodnight and Thank You”, “Art of the Possible” and “I’d Be Surprisingly Good for you”) between “Buenos Aires” and “Another Suitcase”.

R472 that tin can must have a gaping vagina as cavernous as the Grand Canyon of it's anything like Elaine Paige.

And if a sexually transmitted disease could sing, it would sound like Madge.

I would have thought Divine, though she never played Evita.