Evita (musical)
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| Evita | |
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| Cover of Original Broadway Recording | |
|---|---|
| Music | Andrew Lloyd Webber |
| Lyrics | Tim Rice |
| Based upon | Evita: The Woman with the Whip |
| Productions | 1976 concept album 1978 West End 1979 Broadway 1996 Film 2006 West End revival 2008 UK Tour |
| Awards | Olivier Award for Best New Musical Tony Award for Best Musical Tony Award for Best Score Tony Award for Best Book |
Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It is based on Mary Main's biography The Woman with the Whip, which explores the life of Argentine political leader Eva Perón, the second wife of Argentinian president Juan Perón.
The story begins with Eva Perón's early life, touches on her acting career, and then it takes the viewer through her rise to power and eventual death. It describes the October 17, 1945 protests and rallies that freed Juan Perón from prison (portraying them as having been organized by Evita during the beginnings of Peronism, which some historians now dispute), Perón's rise to the office of President, Evita's political partnership with Perón, her domestic and foreign policy, charity work, feminist involvement, and eventual ascent to the position of "Spiritual Leader of the Nation".
Evita began in 1976 as a concept album. Its success let to productions in London's West End in 1978, and on Broadway a year later, both of which enjoyed considerable success. A major 1996 film of the musical was made, starring Madonna and Antonio Banderas. A 2006 London revival followed, and the musical has been given numerous professional tours and worldwide productions, and numerous cast albums have been recorded.
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[edit] History
Like Lloyd Webber and Rice's previous hit, Jesus Christ Superstar, Evita began as an album musical, released in 1976, with Julie Covington singing the lead role. Other parts were played by Paul Jones (as Juan Perón), Barbara Dickson (as the mistress), Colm Wilkinson (as Ché, the narrator; credited as C.T. Wilkinson) and Tony Christie (as Agustín Magaldi). Covington's recording of "Don't Cry for Me, Argentina" reached No. 1 in the UK singles chart in February 1977, and had similar success internationally. Dickson's "Another Suitcase in Another Hall" also became a hit. In Britain, Australia, South Africa, South America, and various parts of Europe, sales of Evita exceeded those of Jesus Christ Superstar; in the United States, however, the concept album never achieved the same level of success. In 1977 American singer Karen Carpenter released a successful cover of "Don't Cry for Me, Argentina" which was noteworthy in that it preserved the complete song as written for the musical, rather than converting it to a pop solo.
Lloyd Webber and Rice reworked several elements of the musical before producing it for the stage. Some songs were dropped and some shortened, while others were introduced and some lyrics rewritten. The 1976 album and the stage version featured different versions of the dialogue between Eva and Perón during "Dice Are Rolling". Both discussed Eva's illness and vice-presidency aspirations but the earlier concluded on "Eva's Sonnet", during which Eva reaffirms her aspirations. The stage version of "Dice are Rolling" concluded on a shorter version of the sonnet as Eva collapses due to her growing illness. Additionally, the stage version of "Oh, What a Circus" featured extra lyrics, explaining why Che does not share the nation's grief.
The 1976 album contained the song "The Lady's Got Potential" which described the rise of Eva and Perón. It was very particular in that it introduced a subplot about Ché being a research chemist who developed an insecticide and aspired to capitalize on this creation. A short song was also included before the start of "Charity Concert", in which Perón and other officers introduce themselves as aspiring dictators. The song was dropped for the stage version, to be replaced with "The Art of the Possible", a musical chairs number which focused on power struggles within Perón's political party.
The character of Ché evolved considerably during the development of the musical. He was originally intended as an "Everyman character who could represent the voice of the people and of opposition", but grew into a representation of the revolutionary Ché Guevara. It was not until Parker's 1996 film that the character returned to its more anonymous roots.[1]
Evita opened in London's West End in 1978, and on Broadway a year later.
[edit] Synopsis
[edit] Act One
A wordless opening reveals a cinema in Buenos Aires, Argentina on July 26, 1952, where an audience is watching a film of Eva Peron's ("A Cinema in Buenos Aires, 26th July 1952"). During the film, an announcer interrupts with the message that "Eva Peron entered immortality at 8:25 hours this evening...." The audience is heartbroken, and they sing "Requiem for Evita" in Latin, which is modeled on a Catholic requiem. Ché, the narrator, cynically assesses the hysterical grief that gripped Argentina when Evita died ("Oh What a Circus").
Ché introduces the audience to fifteen-year-old Eva, in 1936. She has her first love affair with tango singer Agustín Magaldi. Eva blackmails Magaldi into taking her with him to Buenos Aires ("On This Night of a Thousand Stars"). She reveals her hopes and ambitions when she arrives in the city for the first time ("Buenos Aires"). She soon dumps Magaldi, and Ché relates the story of how Eva 'slept' her way up the ladder, becoming a model, radio star, and actress ("Goodnight and Thank You"). He also tells of both Eva's success as an actress and a right-wing coup in 1943 ("The Lady's Got Potential"). This number was replaced in productions after the 1976 recording, with "The Art Of The Possible," in which Colonel Juan Perón is fighting members of his political party to rise to the top.[2]
At a "Charity Concert" held in aid of the victims of an earthquake in San Juan, Eva is reunited with Magaldi as he closes his act. Perón addresses the crowd with words of encouragement and leaps off the stage, meeting Eva as soon as he exits. Eva and Perón share a secret rendezvous following the charity concert, where Eva tells Perón that she would be good for him and that she could help him ("I'd Be Surprisingly Good For You"). Eva dismisses Perón's previous mistress ("Hello and Goodbye"), who ponders the rejection ("Another Suitcase in Another Hall").[3] As Eva moves into high social circles with Perón ("Perón's Latest Flame"), Ché shows the disdain of the upper-classes for Eva and the male chauvinism of the Argentine Army. Perón's presidential election campaign is next recounted, including the Army's attempts to imprison and silence Perón and Perón's questionable campaign practices ("A New Argentina").
[edit] Act Two
Perón has won a sweeping victory for President in 1946. He stands "On The Balcony of the Casa Rosada" addressing his descamisados (shirtless ones). Eva speaks from the balcony of the Presidential palace to her adoring supporters ("Don't Cry for Me, Argentina" and ("On The Balcony of the Casa Rosada 2"). Ché looks at the price of fame as Eva dances at the Inaugural Ball with Perón, now Argentina's president elect ("High Flying, Adored").
Eva insists on a glamorous image in order to impress the people of Argentina and promote Peronism ("Rainbow High"). She prepares to tour in Europe as she is dressed for success by her fashion consultants. The success and decline of her famous 1946 tour ("Rainbow Tour"). Eva affirms her disdain for the upper class, while Ché asks her to start helping those in need as she promised "The Actress Hasn't Learned the Lines (You'd Like to Hear)". Eva begins the Eva Perón Foundation to direct her charity work. Ché describes Eva's controversial charitable work, and possible money-laundering practices ("And the Money Kept Rolling In").[4]
Perón's generals do not want a female Vice-President, and Perón reveals that though "She is a Diamond," Eva's health is not up to the task. Eva's devoted supporters see her as a modern-day saint "Santa Evita". Evita and Ché heatedly debate Eva's actions ("Waltz for Eva and Che"). Ché is disillusioned with Eva's self-serving behavior, while Eva cynically replies that there is no glory in trying to solve the world's problems as he advocates. Eva insists she can continue on, despite her failing health ("Dice Are Rolling/Eva's Sonnet").
Eva understands, at the end of her life, that Perón loves her for herself, not just for what she can do for him and his career ("You Must Love Me").[5] A dying Eva renounces her pursuit of the vice presidency and swears her eternal love to the people of Argentina ("Eva's Final Broadcast"). Eva's achievements flash before her eyes before she dies ("Montage"), and she asks for forgiveness, contemplating her choice of fame instead of long life ("Lament"). Eva dies, and embalmers preserve her body forever. Ché notes that a monument was to be built for Evita" "Only the pedestal was completed, and Evita's body disappeared for seventeen years...."
[edit] Song list
[edit] Concept album
- Side One
- A Cinema in Buenos Aires, 1952
- Requiem for Evita/Oh What a Circus
- On This Night of Thousand Stars/Eva and Magaldi/Eva, Beware of the City
- Buenos Aires
- Goodnight and Thank You
- Side Two
- The Lady's Got Potential
- Charity Concert/I'd Be Surprisingly Good For You
- Another Suitcase in Another Hall
- Dangerous Jade
- A New Argentina
- Side Three
- On the Balcony of the Casa Rosada/Don't Cry for Me, Argentina
- High Flying Adored
- Rainbow High
- Rainbow Tour
- The Actress Hasn't Learned the Lines (You'd Like to Hear)
- And The Money Kept Rolling In (And Out)
- Side Four
- Santa Evita
- Waltz for Eva and Che
- She is a Diamond
- Dice are Rolling/Eva's Sonnet
- Eva's Final Broadcast
- Montage
- Lament
[edit] Original Broadway production
- Act I
- A Cinema in Buenos Aires, 26th July 1952° – Crowd
- Requiem for Evita – Chorus
- Oh, What a Circus – Ché
- On This Night of a Thousand Stars – Magaldi
- Eva and Magaldi/Eva, Beware of the City – Evita, Magaldi and Evita's Family
- Buenos Aires – Evita and Ensemble
- Goodnight and Thank You – Ché, Evita and Lovers
- The Lady's Got Potential (cut in 1976 and replaced by next song) – Ché
- The Art of the Possible – Perón, Generals, Evita
- Charity Concert – Perón, Ché, Magaldi, Evita
- I'd Be Surprisingly Good For You – Evita and Perón
- Hello and Goodbye – Evita
- Another Suitcase in Another Hall – Perón's Mistress
- Peron's Latest Flame – Ché
- A New Argentina – Evita, Ché, Perón, Chorus
- Act II
- Entr'acte
- On The Balcony of the Casa Rosada – Perón, Ché, Descamisados
- Don't Cry For Me Argentina – Evita
- On The Balcony of the Casa Rosada 2 – Evita
- High Flying Adored – Ché and Evita
- Rainbow High – Evita
- Rainbow Tour – Perón, Advisers, Ché
- The Actress Hasn't Learned the Lines (You'd Like to Hear) – Evita and Ché
- And the Money Kept Rolling In (And Out) – Ché
- She is a Diamond – Perón
- Santa Evita – Chorus
- Waltz for Eva and Che – Evita and Che
- Dice are Rolling – Perón and Evita
- Eva's Final Broadcast – Evita
- Montage – Chorus
- Lament – Evita
- °Replaced by "Junin, 26th July 1952" for the London production
- "You Must Love Me", written for the 1996 film, was added after "Waltz for Eva and Che" to the 2006 London production.
[edit] Historical accuracy of the story
- See also: Che Guevara in popular culture
| “ | 'Ché as well as Evita symbolize certain naïve, but effective, beliefs: the hope for a better world; a life sacrificed on the altar of the disinherited, the humiliated, the poor of the earth. They are myths which somehow reproduce the image of Christ.'[6] | ” |
After leaving Peronist Argentina in the mid-1950s, Guevara moved to Cuba. As Castro's collaborator, he came to occupy a position of spiritual leader in Cuba's government that was arguably analogous to Evita's role in Peronist Argentina. In the early productions of the musical, Ché and Evita have a confrontation in the song "Waltz for Eva and Ché". The character of Evita makes a reference to Guevara's future role in Castro's Cuba: "So go, if you're able/To somewhere unstable/And stay there/Whip up your hate/In some tottering state/But not here, dear/Is that clear, dear?" However, there is no evidence to suggest that Ché Guevara and Eva Perón actually ever met. Guevara later claimed that he had sent a letter to Perón's charity requesting a jeep, which was never received. He also joined a Peronist youth organisation in college, though only to gain access to their library. [7]
The lyrics and storyline of the musical are based on Mary Main's biography, Evita: The Woman with the Whip, which drew heavily upon the accounts of anti-Peronist Argentines. Shortly after the musical appeared, Nicholas Fraser and Marysa Navarro published a more neutral account of Eva Perón's life, titled Evita: The Real Lives of Eva Perón, in which they claim that many of Main's assertions (which had influenced Rice's lyrics) were false, such as the suggestion that Eva had first gone to Buenos Aires as the mistress of a married musician, Agustín Magaldi. Instead, they wrote, Eva's mother Doña Juana had taken her there when she aspired to become a radio actress. Critics also suggested that Rice's lyrics disparaged Evita's achievements unnecessarily, particularly her charity work. [8]
In the film, the characters who represent the anti-Peronist oligarchy speak and sing with British accents, underscoring the historical fact that British commercial interests were an important opponent of the Peronist movement.
Following the success of the film version of "Evita," in 1996, the government of Argentina released its own film biography of Peron, entitled "Eva Peron," alleging that it corrected distortions in the Lloyd Webber account.[9]
[edit] Productions
- 1978 London production
Evita opened at the Prince Edward Theatre on June 21, 1978 and ran for 2900 performances. The title character was played by Elaine Paige, who had been selected from a large number of hopefuls, after Julie Covington elected not to take the role. Ché was played by the pop singer David Essex, and Perón by Joss Ackland. The production was directed by Harold Prince, choreographed by Larry Fuller, and produced by Robert Stigwood. Other notable actresses playing the role of Evita in this production included Marti Webb, Stephanie Lawrence, Siobhan McCarthy and Michele Breeze.
- 1979 Broadway production
The show opened at the Broadway Theatre on September 25, 1979, and closed on June 26, 1983, after 1567 performances and 17 previews. Patti LuPone starred as Eva 'Evita' Peron, with Mandy Patinkin as Ché, Bob Gunton as Perón, Mark Syers as Magaldi, and Jane Ohringer as Peron's Mistress. As in the London production, Harold Prince directed with choreography by Larry Fuller. During the run, six actresses alternated playing the title role, in addition to LuPone: Terri Klausner, Nancy Opel and Pamela Blake (matinees), and Derin Altay, Loni Ackerman and Florence Lacey (evenings). David Cantor understudied Patinkin and often performed Ché.
- 2006 London revival
On 2 June 2006, the first major London production of Evita in 25 years opened at London's Adelphi Theatre, directed by Michael Grandage with Argentine actress Elena Roger as Eva Perón, Philip Quast as Perón, and Matt Rawle as Ché. Notably, its song list included "You Must Love Me", written for the 1996 film, which had never been part of an English-language stage production. The production opened to rave reviews, but due to a surfeit of musicals in the West End at the time, ticket sales were slow and the production closed on May 26, 2007, after a run of less than twelve months.[10]
- 2008 UK tour
A UK tour opened on 22 May 2008.[11]
- Notable actresses
Other notable actresses playing the role of Evita around the world have included Paloma San Basilio (1981, Spain); Valeria Lynch (1981, Mexico); Michele Breeze (1982, New Zealand); and Pia Douwes and Doris Baaten (1996, The Netherlands and Belgium).
[edit] Adaptations
[edit] 1996 film
Plans for a film developed soon after the West End and Broadway openings, which was originally to have starred Barbra Streisand or Liza Minnelli as Eva, and Barry Gibb or Barry Manilow as Ché, and was to have been directed by Ken Russell.[citation needed] Ultimately, these plans never came to fruition and it was not until the 1996 film Evita, directed by Alan Parker, that the theatrical production came to the big screen, with Madonna in the title role, Antonio Banderas as Ché, and Jonathan Pryce as Perón. The film was nominated for five Academy Awards, winning one for Best Original Song ("You Must Love Me", composed especially for the film).
[edit] Awards and nominations
- Olivier Awards 1978[12]
- Best New Musical
- Performance of the Year in a Musical — Elaine Page
- Best Musical (WINNER)
- Best Score (WINNER)
- Best Book (Musical) (WINNER)
- Best Director (Musical) — Harold Prince (WINNER)
- Best Featured Actor in a Musical — Mandy Patinkin(WINNER)
- Best Featured Actor in a Musical -- Bob Gunton (nominee)
- Best Actress (Musical) — Patti Lupone (WINNER)
- Best Lighting Designer — David Hersey (WINNER)
- Best Scenic Design (nominee)
- Best Costume Design (nominee)
- Best Choreography (nominee)
- Outstanding Musical (WINNER)
- Outstanding Lyrics (WINNER)
- Outstanding Music (WINNER)
- Outstanding Actress (Musical) — Patti LuPone (WINNER)
- Outstanding Featured Actor (Musical) — Bob Gunton (WINNER)
- Outstanding Director of a Musical (WINNER)
- Outstanding Actor in a Musical (Patinkin) (nominee)
- Outstanding Choreography (nominee)
- Outstanding Costume Design (nominee)
- Outstanding Lighting Design (nominee)
- Outer Critics Circle Awards 1980[15]
- Best Lyricist
[edit] Cultural impact
Evita came in sixth in a BBC Radio 2 listener poll of the UK's "Number One Essential Musicals".[16]
One episode of The Simpsons, "The President Wore Pearls", has a plot loosely based on the musical, including parodies of songs such as "Don't Cry for Me, Kids of Springfield". At the end of the episode, a disclaimer is displayed stating, "On the advice of our lawyers, we swear we have never heard of a musical based on the life of Eva Perón".
[edit] Recordings
At least twenty-five English language cast albums have been released, along with many foreign language recordings. There are currently four in Spanish, five German, three in Japanese, and two in Hebrew, with additional recordings in Czech, Danish, Dutch, French, Hungarian, Icelandic, Korean, Portuguese, and Swedish.[citation needed]
- 1976 concept album
- 1978 London cast
- 1979 Broadway cast
- 1996 film soundtrack
- 2006 London cast
[edit] References
- ^ Programme notes, 2006 London production
- ^ The film soundtrack uses both numbers; however, the lyrics to "The Lady's Got Potential" were substantially re-written, and only one verse is used.
- ^ In the film version, "Another Suitcase in Another Hall" is sung by Eva herself (after "Buenos Aires"), after realizing that Magaldi is married with a child.
- ^ The song "Partido Feminista" follows this in the movie version, depicting another of Eva's speeches.
- ^ This song was written for the 1996 film and later added to the stage version.
- ^ "Evita Or Madonna: Whom Will History Remember?" Interview with Tomas Eloy Martinez Retrieved June 13, 2006
- ^ Anderson, Jon Lee. Che Guevara: A Revolutionary Life. ISBN 0802135587
- ^ Navarro, Marysa and Fraser, Nicholas. Evita: The Real Life of Eva Peron
- ^ Eva Peron, 1996 Argentinian film biography of Eva Peron
- ^ "Joseph hangs Dreamcoat at Adelphi in July", Society of London Theatre, 2007-04-04. Retrieved on 2007-06-02.
- ^ 2008 UK tour information from the Really Useful Group website
- ^ Past Olivier Award winners. Society of London Theatre. Retrieved on 2007-06-18.
- ^ Archive: Evita. Tony Awards Official Website. American Theatre Wing. Retrieved on 2007-06-18.
- ^ 1980 Drama Desk Awards. Drama Desk Awards Official Website. Retrieved on 2007-06-18.
- ^ 1980 Outer Critics Circle Awards. Outer Critics Circle. Retrieved on 2007-06-18.
- ^ Elaine Paige - Nation's Favourite Musicals. BBC Radio 2. Retrieved on 2007-06-02.
[edit] External links
- Internet Broadway Database listing for Evita
- Evita at Andrew Lloyd Webber's Really Useful Group
- Evita synopsis and other information on the NODANW site
| Awards | ||
|---|---|---|
| Preceded by Sweeney Todd by Stephen Sondheim |
Tony Award for Best Original Score 1980 by Andrew Lloyd Webber and Tim Rice |
Succeeded by Woman of the Year by John Kander and Fred Ebb |
| Preceded by Sweeney Todd by Hugh Wheeler |
Tony Award for Best Book of a Musical 1979 by Tim Rice |
Succeeded by Woman of the Year by Peter Stone |
| Preceded by Sweeney Todd |
Drama Desk Award for Outstanding Musical 1979-1980 |
Succeeded by The Pirates of Penzance |
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