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| also | |
| Posted by: Chazwaza 01:07 am EDT 03/18/22 | |
| In reply to: i'm tired of Patti bashing the very acclaimed/popular/revived/recorded "male" version in order to promote this production - Chazwaza 12:40 am EDT 03/18/22 | |
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| And more on her feelings on doing Evita... she is entitled to feel however she felt and remember it however she did. But again, while Prince is known more for casting the actor his thinks is the exact right fit and letting them give their performance rather than coddling or micro-managing... and I'm sure he could be abusive in some ways or negligent in others, and intimidating whether he even meant to be (though he also has a rep from many people for being very warm as a director) .... and I can't know what it was like for her nor can I doubt how she felt. But despite how she talks about it, Patti she was not an inexperienced child plucked from obscurity and thrown into a tornado musical when she was hired for Evita (hired... for a job she auditioned for, not a role she was blackmailed into taking). She talks as if she were Linzi Hateley in Carrie... but Patti was a *30 year old* seasoned actor by now, with many great plays under her belt, a graduate of Juilliard, and had already gotten a Tony nomination for her work in a musical *4 years prior* to being cast in Evita. There is plenty of reason to think Prince thought she was good to go. I'm sure she needed some directorial help or attention he didn't give her, but come on, a little perspective. |
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| re: also | |
| Last Edit: Delvino 04:44 pm EDT 03/18/22 | |
| Posted by: Delvino 04:42 pm EDT 03/18/22 | |
| In reply to: also - Chazwaza 01:07 am EDT 03/18/22 | |
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| All true. I have the LuPone memoir in front of me: Her discussion of Evita begins on page 104 out of 316 pages outlining her career, ending on Gypsy. She had been on Broadway and on the road with a new musical in trouble: The Baker’s Wife. Which she dubs Hitler’s Road Show. The travails of creating a theater piece from the ground up was in her extensive professional experience by the time Evita arrived. |
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| re: also | |
| Last Edit: Chazwaza 08:43 pm EDT 03/18/22 | |
| Posted by: Chazwaza 08:34 pm EDT 03/18/22 | |
| In reply to: re: also - Delvino 04:42 pm EDT 03/18/22 | |
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| So being young and able, but very experienced and trained... she found the experience of creating a musical from the ground up awful AND also awful was the experience of going into a show already written and a hit in London and being essentially re-staged from existing staging by the director who made it a hit already... I grant her that The Baker's Wife seems like an abnormally difficult process, and Evita is an abnormally strenuous role for any actress... but... just pointing out, she doesn't seem to enjoy either a rough new musical or a challenging established musical (who can blame her, but neither show was out to get her). I mean what can compete with doing Fantine in Les Miz or Reno is that Anything Goes revival... but being a working actor in musical theater, those kinds of dream scenarios of Les Miz and AG are probably just as unlikely to happen as are the abnormally difficult scenarios of Baker's Wife and Evita. |
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| re: also | |
| Posted by: bobby2 01:13 am EDT 03/18/22 | |
| In reply to: also - Chazwaza 01:07 am EDT 03/18/22 | |
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| There is a video of her on youtube on Joan Rivers' talk show. She sings I Dreamed a Dream. When asked if she liked doing Evita she immediately responds with I Loved it! (or something close to that.) I think all this Evita hate is Post-Sunset Blvd firing trauma leaking into her brain. |
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| re: also | |
| Last Edit: Chazwaza 02:15 am EDT 03/18/22 | |
| Posted by: Chazwaza 01:42 am EDT 03/18/22 | |
| In reply to: re: also - bobby2 01:13 am EDT 03/18/22 | |
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| I've seen several interviews from her during and soon after the run of Evita where she is not saying anything remotely resembling the experience she says she had now. Of course she could have absolutely been saying what she thought people wanted to hear, what she should say to keep working... ALW and Prince were two of the most powerful men in the biz (well, Hal... Webber not as much as that point, but still a big writer). But she also would say over and over how she's an actor's actor, an actor first, how she approached it as a play not a musical, how she doesn't care about or even want fame she just wants to work hard and give a good performance for that evening's audience... etc. It never sounds like she's the actress who's learned the lines they'd like to hear, to quote Eva. But who can say! Not only can no one know for sure but her... she is not the same Patti today that she was in 1980 or 1990, etc (no one is)... so she may feel very sure her current feelings and memory are accurate, and they may contradict what they were then. Who knows. But either way, there are observable truths about the situation of her as an actor at that time, of Hal, of her in the show, of the show... and of what the show is saying about politics, society, Eva herself, as well as the reaction to it (the Times review by Kerr is not bashing it for glorifying a dictator who hid nazis, or forcing a girl out of her element to sing a score she can't sing... it is a mixed review with plenty of good (including about her), criticizing mainly the generally dramatically inert narration and "talk don't show" most of the show is written in.... and adore it as I do, and as great as it is as a score or concept album, as a musical this is not an unfair criticism, and that is why Prince's production is the only one I've seen that works, and why the movie and revival absolutely do not despite that on the surface they kind of seem like the do. Which isn't to say all productions should copy his staging, but they should consider the *intentions* behind Prince's direction (vision/concept/staging) as part of the writing of the show.) |
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