Seth loved this deconstruct and cannot wait to hear more from you about EVITA...QUICK STORY...i lived in San Francisco in 1979, and EVITA played I believe its' first performances at the ORPHEUM THEATRE...it was i remember a 9 week engagement before moving on to Los Angeles before Broadway...well i saw it the very first week and thought it was the biggest peice of crap for a musical that i had ever seen...but i decided in the final week to go back because i love HAL PRINCE so much from all his Sondheim musicals of that decade...i was completely floored how much better and how every thing meshed to become the EVITA that everyone in New York would love so much...it became my favorite staged musical at that time!
I thought I was the only one who could talk all night about the differences between the white album and black and white album....to the eternal bordem of my guests.
I have really really enjoyed this. I mean no disrespect but I've never heard of this man. I was at a friend's home as she practiced her make-up on me (make-up show coming up) she was binge watching this gentleman. So I wrote down his name, came home and found him. This was a lot of fun to watch. This man's enthusiasm and facial expressions as he explained something he obviously loved, had me smiling like an idiot the entire time. As I said I really enjoyed it. Thanks!
PUHLEEZ! Webber has said that perhaps the entire show was unsingable. Can ya imagine what Rudetsky would do with the ENTIRE show? (It might DESTROY HIM ) , I was Peron, no problemas at all !!!!
Seth BRAVO!! Loved the intricate detailing!! I played Magaldi in the original as Mark's U/S and went on w Patti & Mandy & Bob at the Broadway Theatre…Then Hal put me in the First national in LA at the now razed Shubert w Loni Ackerman as Eva…Both Companies and the amazing gals were terrific to play with. I have sung THOUSAND STARS at least a thousand times!! =0-) The scene that follows is wonderful to play..Listening to your breaking down of the accompaniment/orchestration brought back many thoughts. I remember connecting with all that more onstage than in an analytical disection offstage. The music accompaniment and the sung line just by their construct tell so much. I don't have anywhere near your musical acumen but I felt so supported in the underlying motivations of character by the accompaniment. Eva is young feisty and volatile and so the exchange is underlined by the cacophony and to me, odd rhythms in the orchestra when she sings…And then the smoother strains under Magaldi trying to sooth her and pacify her…putting her off as irrelevant. Then the truly atonal-ish attack from the family with "SO FAR!" When he realizes he is being threatened…The music again supports the scene…Magaldi tries different approaches …Once "BEWARE OF THE CITY," until finally he tells her "BEWARE YOUR AMBITION" which to me puts them on the same level whereas before he is postured as more experienced and mature…He sees a viperish energy he cannot ignore. And he finally gives in and takes to the B A ! I played the show and the role many times on the road with various Evas including the terrific Val Perri and w Darin Altay and eventually go tot play PERON! Ironically with Anne Brummel who was a kid when I played Magaldi with her dad David! What a "SMALL WORLD" isn't it?
I've always loved the original Broadway Evita orchestrations. Great orchestrations speak to you on a more nuanced level and they greatly aid in telling the story in an unforgettable way. I always felt people are shallow and would easily replace and rewrite this great orchestration for something that sound "modern" and that chucks the 70's sound but the older I get the more I find myself coming back to these classic orchestrations and the more recent revised orchestrations simply don't cut it. I never knew you played Peron. I know you appeared in Sweeney Todd opposite Angela Lansbury as Perelli cause I watched that recorded performance countless times. I knew you played Magaldi with Loni Ackerman in L.A. cause my brothers had seen the show at the time and I'd look at the pictures of the L.A. cast in the souvenir brochure (I didn't get to see that production. was too young). However, I did get to see you in the L.A. production of Sunset Boulevard at the Shubert twice. Loved the way you delivered the line "Joe what the f*ck brings you here." That always got a surprised audience reaction. I guess because of how matter of factly you sung it, which was perfectly in-character, and told us all we needed to know about Sheldrake. It was awesome!
Jeez, Seth, what took so long?! Besides writing a Tony-nominated show, working for wonderful charities, writing some great books, schmoozing with the best Broadway peeps ever, raising a great family...come on! You had plenty of time! (In all seriousness, I'm so so happy to see you coming back to these.)
Here for all the "White Album" shout-outs! That's how I came to know and love Evita! My parents brought it home from a UK trip (they were massive fans of Jesus Christ Superstar) back in the late 70s! I didn't get to see the actual show of Evita till decades later! Also, paying Che on the White Album? COLM WILKINSON. Damn! And @Seth, more deconstructions please, especially from Lloyd Webber/Rice era!
I'm so glad you're finally doing this! Every time you've mentioned it over the years I get so stoked! I am also obsessed with the "white album" with the terrible Che-has-a-pesticide subplot and the much weirder version of "Lady's Got Potential" and my favorite version "Money Kept Rolling In"
I absolutely love these videos, your analysis is great and always makes me appreciate the songs you've deconstructed so much more. The score can sometimes be the most underrated part of a musical to a theatre audience. In terms of you know it's wonderful when it is but it's difficult to explain why. Like for acting it is fairly straightforward to understand why you like an actor's portrayal because there is something authentic/unique/truthful about it. But with the score, unless you have musical training you can only ever have a relatively surface level understanding of why you like it. But with these deconstructions you helpfully breakdown in accessible terms what is going in within the score and different melodies and why it is particularly creative. What makes it even better is your personality, clear passion/obsession for musicals and your unique insights from being part of the Broadway community. In short, SO glad these videos are back. Lots of Love x
It's interesting that the complexity of ALW early work was all written whilst his father, William LW a celebrated classical composer and head of composition at the Royal College, was still alive.
I want to know if Lloyd-Webber intended Buenos Aires to be completely unsingable. If LuPone can barely get through it, how can regular mortals not be defeated by it?
She complains that the ENTIRE score was a bitch. Yet she plowed thru it 8 times a week.... I will, however, give her Buenos Aires: that one is a CERTIFIED KILLER !!!! (I can't spit out parts of it but she did it, EVEN at the Tony Awards! (So much for it being un-singable)!!!!
I remember you hinting at doing an Evita deconstruction way back! I'm so glad you're doing it. I have to say, I tend to think of Lloyd Webber as being a bit kitsch, but Evita and JCS are absolutely musically brilliant.
I love the "White Album". I love the pic of Julie Covington smoking a cigarette in the recording booth and singing this score at the same time! I am so glad you are back to doing these.
So many deconstructions in one week! What did I do to deserve this? Seth, I'm always amazed at how you help me learn to love musical theater even more than I already do. Thanks for doing these! I could listen to you talk about the details in songs you love all day.
Yes. The injections of 5/8 and 5/4 in Evita ARE really bizarre as is all the atonal sounds running through the score.. yet this all works like a brassy crazed charm! The show is a very odd piece but when the lead can do a high BELT and the Che and dancers are vocally and physically engaged the musical really is something to behold. It's modern. Very modern. ;) The film of Evita with you know who was ghastly it is completely another "vision".
There were MNY repeats in Evita, but myself, and the entire cast thought it was a terrific show...almost religious.... we all had a blast doing it. I even got an award for best supporting actor for my Peron!!!
I always thought that the strange, atonal, extremely dissonant music in this musical really helped it get it's point across. This show can so easily be read as a glorification of Eva Peron. As saying that she was a flawless saint actually. But the music really works against that. It makes you feel the dark underbelly of Evita and her rise to power and makes you constantly a little bit uncomfortable. I really think that that was intentional because Andrew Lloyd Webbers Music after this has sadly never been so weird and interesting again.
Ahhhh, I'm so happy to see some new deconstructions. Always a delight when you have the time to put these out. You're an inspiration to me as a queer professional musician who obsessively loves (and writes!) musical theatre. Thank you!!!
That's hilarious, I was at the piano just last night playing "Everything's Alright" by ear and I thought to myself halfway through, "wait, am I playing 5/8?" As you said, you don't even realize ALW's weird signatures until you look at the score or try to perform it because it just works.
Great analysis! About 13:45 - check the chorus and orchestra at the end of the opening number. "Requiem", as the chorus sings "EVITAAAAAA". I believe it's the same collection of notes/chord. Quite characteristic of Eva's mind!
You know what I love? Your deconstruction videos. You know what I hate? That you're already married, because I think I'm a little bit in love with you, Seth Rudetsky! Added to the bucket list: Shake Seth Rudetsky's hand. You're on notice. Seriously, though, really amazing, informative, educational stuff. Thank you!
I'm getting "this video is not available" when trying to watch in the UK - Seth can you please check you didn't accidentally set it to USA-only as we're missing out here? ;) Thanks so much - I very much enjoy this series of videos and the White Album has some fantastic singing from Julie C on it that I'd love to hear your take on!
I saw Patti and the original cast on Broadway in the early-1980s. It was a hot ticket and a thrilling performance. Unfortunately, the sound system was so bad that I thought maybe they’d switched to Spanish after doing the album in English! Btw, completely unrelated, but Jethro Tull’s Living in the Past is also written in 5/4 - when I first played it, I stared at the music for a half hour until I could count it correctly. Weird time signature.
Omg puhlease deconstruct gavin creel singing what do I need with love from thoroughly modern Millie because the riffs are gorgeous and his voice is like gold
I wonder how much of the changes from the original London production appeared in the Broadway production due to Paul Gemignani, because Hal Prince famously didn't get on with Anthony Bowles, who conducted the white album and was original MD on the London show, but was removed at HP's insistence? PG being HP's MD of choice anyway. I think what we now know as the EVITA stage score was more like HP wanted in the first place but was stopped in London until after AB's removal.
Loved this - one of my favourite songs from Evita, and now I know a bit more why. I'd still say Julie Covington's 'Screw the middle classes...' is the definitive one - but that's no criticism of Patti LuPone.
I didn't know it existed. I have the movie soundtrack and the latest Broadway revival cast recording, but it was interesting to hear the original cast here.
LuPone on Broadway was actually the third recording. The first was the so-called "white" concept album with Julie Covington. The second was the West End (incomplete) cast album with Elaine Paige.
i love this discussion of time signatures which I got obsessed with in the 70s n 80's but 5/4 "try not to get worried" he ripped off from a jazz piece n even Don't Cry is very similar to the melody of "besame, besame mucho" crossed with the chorus of Por una Cabeza - Carlos Gardel
They went back to some "original" lines from the white album, which Rice didn't like. They changed some lines completely which Rice hated, such as changing "No money, no class" to "No money, no cash" which is just stupid, and probably because Madonna didn't want anyone singing that she had no class!
dohaperson1 Wow! I'd forgotten about the Madonna version. And back then I used to love her. Not in Evita though. I actually like the soundtrack but the film itself is horrid. Might've been better with Meryl Streep in it perhaps. But after seeing the Mamma Mia movie, perhaps not. I did like Into The Woods though.
Streep was too old. I think Jennifer Lopez would have been great, but she hadn't quite hit it big yet. Madonna couldn't act and they didn't seem to understand what the show was really about....tried to make it too sympathetic to Eva but that's not how it's written.
dohaperson1 I'd say that Madonna actually hit just the right mark to be at once sympathetic, but also a bit of a ruthless bitch. To be fair, that was Madonna herself in '96.
Che's part is also soooo hard. He has to go very deep, even deeper than the low Es in Buenos Aires, but he also has to go up very high in songs like "Good Night and Thank you" and "The Money kept rolling in". I guess Andrew Lloyd Webber thinks that The male voice can turn into a tuba and a high electric guitar whenever he wants.
I must be the only one who didn't care for the so-called White Album. I greatly disliked Julie Covington's Eva. She sounded bored the entire time. Later, I learned that she only did it as a favor to ALW, and it made sense. I also hate the way she mispronounced certain words, like descamisados. She kept saying day-camisados. Everyone else said it perfectly. Why did no one correct her?
I honestly couldn't stand Covington on the concept album because of all the wrong notes and the shrieky nature of her voice. Funny this is, for some time after listening to her on that album I was of the opinion that she could not sing at all and had a trainwreck of a voice. Interestingly years later I enjoy her performance on that album. I still think she is pitchy and delivers some of the lyrics in a very stiff manner but overall my ears don't bleed like they used to. I agree about "day-camisados" though. It's one thing to not sound like a fluent Spanish speaker, it's another to say the words so wrong, that you almost blame others more for not correcting her at all. Like were they deaf or something? lol.
13:30 'Do not say "middle class" to Patti Lupone, she will belt... up the octave' 😂
For us non-musicians, this was a particularly great deconstruction explaining the score rather than the singing. Thanks.
Seth loved this deconstruct and cannot wait to hear more from you about EVITA...QUICK STORY...i lived in San Francisco in 1979, and EVITA played I believe its' first performances at the ORPHEUM THEATRE...it was i remember a 9 week engagement before moving on to Los Angeles before Broadway...well i saw it the very first week and thought it was the biggest peice of crap for a musical that i had ever seen...but i decided in the final week to go back because i love HAL PRINCE so much from all his Sondheim musicals of that decade...i was completely floored how much better and how every thing meshed to become the EVITA that everyone in New York would love so much...it became my favorite staged musical at that time!
I thought I was the only one who could talk all night about the differences between the white album and black and white album....to the eternal bordem of my guests.
I have really really enjoyed this.
I mean no disrespect but I've never heard of this man. I was at a friend's home as she practiced her make-up on me (make-up show coming up) she was binge watching this gentleman. So I wrote down his name, came home and found him.
This was a lot of fun to watch. This man's enthusiasm and facial expressions as he explained something he obviously loved, had me smiling like an idiot the entire time.
As I said I really enjoyed it.
Thanks!
Gretchen In my humble opinion, Rudetsky is a Aa
Rudetsky is a BRILLIANT MUSICAL MANIAC !!!!
I hope you do the whole show. This is great.
If there is one entire show that deserves to be deconstructed by Seth, it's Evita for sure.
PUHLEEZ! Webber has said that perhaps the entire show was unsingable. Can ya imagine what Rudetsky would do with the ENTIRE show? (It might DESTROY HIM ) ,
I was Peron, no problemas at all !!!!
Seth BRAVO!! Loved the intricate detailing!! I played Magaldi in the original as Mark's U/S and went on w Patti & Mandy & Bob at the Broadway Theatre…Then Hal put me in the First national in LA at the now razed Shubert w Loni Ackerman as Eva…Both Companies and the amazing gals were terrific to play with. I have sung THOUSAND STARS at least a thousand times!! =0-) The scene that follows is wonderful to play..Listening to your breaking down of the accompaniment/orchestration brought back many thoughts. I remember connecting with all that more onstage than in an analytical disection offstage. The music accompaniment and the sung line just by their construct tell so much. I don't have anywhere near your musical acumen but I felt so supported in the underlying motivations of character by the accompaniment. Eva is young feisty and volatile and so the exchange is underlined by the cacophony and to me, odd rhythms in the orchestra when she sings…And then the smoother strains under Magaldi trying to sooth her and pacify her…putting her off as irrelevant. Then the truly atonal-ish attack from the family with "SO FAR!" When he realizes he is being threatened…The music again supports the scene…Magaldi tries different approaches …Once "BEWARE OF THE CITY," until finally he tells her "BEWARE YOUR AMBITION" which to me puts them on the same level whereas before he is postured as more experienced and mature…He sees a viperish energy he cannot ignore. And he finally gives in and takes to the B A ! I played the show and the role many times on the road with various Evas including the terrific Val Perri and w Darin Altay and eventually go tot play PERON! Ironically with Anne Brummel who was a kid when I played Magaldi with her dad David! What a "SMALL WORLD" isn't it?
I've always loved the original Broadway Evita orchestrations. Great orchestrations speak to you on a more nuanced level and they greatly aid in telling the story in an unforgettable way. I always felt people are shallow and would easily replace and rewrite this great orchestration for something that sound "modern" and that chucks the 70's sound but the older I get the more I find myself coming back to these classic orchestrations and the more recent revised orchestrations simply don't cut it.
I never knew you played Peron. I know you appeared in Sweeney Todd opposite Angela Lansbury as Perelli cause I watched that recorded performance countless times. I knew you played Magaldi with Loni Ackerman in L.A. cause my brothers had seen the show at the time and I'd look at the pictures of the L.A. cast in the souvenir brochure (I didn't get to see that production. was too young). However, I did get to see you in the L.A. production of Sunset Boulevard at the Shubert twice. Loved the way you delivered the line "Joe what the f*ck brings you here." That always got a surprised audience reaction. I guess because of how matter of factly you sung it, which was perfectly in-character, and told us all we needed to know about Sheldrake. It was awesome!
I'm so excited you are doing Evita! I can't wait for Buenos Aires, A new Argentina and Rainbow High.
Please let there be more! Seth your musicianship knowledge always astounds me.
So glad your deconstructions are back!
Thank you!
Jeez, Seth, what took so long?! Besides writing a Tony-nominated show, working for wonderful charities, writing some great books, schmoozing with the best Broadway peeps ever, raising a great family...come on! You had plenty of time! (In all seriousness, I'm so so happy to see you coming back to these.)
Aw thanks!
Here for all the "White Album" shout-outs! That's how I came to know and love Evita! My parents brought it home from a UK trip (they were massive fans of Jesus Christ Superstar) back in the late 70s! I didn't get to see the actual show of Evita till decades later! Also, paying Che on the White Album? COLM WILKINSON. Damn! And @Seth, more deconstructions please, especially from Lloyd Webber/Rice era!
I bought it a long time ago just for The Lady's Got Potential. I was glad it was put into the film.
I played Peron, and stood behind her as she sang Argentina every night,
just like your doll!
It was delivhtful standing there as she sang....
I'm so glad you're finally doing this! Every time you've mentioned it over the years I get so stoked! I am also obsessed with the "white album" with the terrible Che-has-a-pesticide subplot and the much weirder version of "Lady's Got Potential" and my favorite version "Money Kept Rolling In"
Gawd, you are so f*cking educated! This was an absolute thrill to watch/listen/learn
This is a killer. Musically directing Evita right now, and this was an awesome find at this time of my life.
Dammit, Seth, now I'm going to have to go watch the whole show.
Again.
That face at 16:35 cracked me up! I could watch you act along/mouth the words to literally any song of any musical! Love it!
I absolutely love these videos, your analysis is great and always makes me appreciate the songs you've deconstructed so much more. The score can sometimes be the most underrated part of a musical to a theatre audience. In terms of you know it's wonderful when it is but it's difficult to explain why. Like for acting it is fairly straightforward to understand why you like an actor's portrayal because there is something authentic/unique/truthful about it. But with the score, unless you have musical training you can only ever have a relatively surface level understanding of why you like it. But with these deconstructions you helpfully breakdown in accessible terms what is going in within the score and different melodies and why it is particularly creative. What makes it even better is your personality, clear passion/obsession for musicals and your unique insights from being part of the Broadway community.
In short, SO glad these videos are back. Lots of Love x
Managed to get my hands on the white album on vinyl, nice to finally see some white album appreciation
Julie Covington was a terrific Evita
I'm obsessed with the rhythm section in this orchestra, they were stellar! brava!
It's interesting that the complexity of ALW early work was all written whilst his father, William LW a celebrated classical composer and head of composition at the Royal College, was still alive.
i'm so glad you finally got to Evita Seth.....it's my favorite musical.
AHH I missed these so much!! Your deconstructions always make my day!!!
I want to know if Lloyd-Webber intended Buenos Aires to be completely unsingable. If LuPone can barely get through it, how can regular mortals not be defeated by it?
Ikr
She complains that the ENTIRE score was a bitch.
Yet she plowed thru it 8 times a week....
I will, however, give her Buenos Aires: that one is a CERTIFIED KILLER !!!!
(I can't spit out parts of it but she did it, EVEN at the Tony Awards!
(So much for it being un-singable)!!!!
Dean Plaia I think she oversings it, or her voice might be too heavy for the part. Elaine Page has a lighter tone and sounds less strained
I remember you hinting at doing an Evita deconstruction way back! I'm so glad you're doing it. I have to say, I tend to think of Lloyd Webber as being a bit kitsch, but Evita and JCS are absolutely musically brilliant.
saxamaphoneguy1 Joseph is pretty cool, too.
Your deconstructions make the world a better place!
I love the "White Album". I love the pic of Julie Covington smoking a cigarette in the recording booth and singing this score at the same time! I am so glad you are back to doing these.
So many deconstructions in one week! What did I do to deserve this?
Seth, I'm always amazed at how you help me learn to love musical theater even more than I already do. Thanks for doing these! I could listen to you talk about the details in songs you love all day.
THIS IS THE SHOW IVE BEEN WAITING FOR!! THIS MADE MY WEEK
Yes. The injections of 5/8 and 5/4 in Evita ARE really bizarre as is all the atonal sounds running through the score.. yet this all works like a brassy crazed charm! The show is a very odd piece but when the lead can do a high BELT and the Che and dancers are vocally and physically engaged the musical really is something to behold. It's modern. Very modern. ;) The film of Evita with you know who was ghastly it is completely another "vision".
Omg I need that ornament... 😲😲😲
I'm obsessed with the whole original concept album, specially Buenos Aires, the instrumental part in the middle song is so nostalgic
You are back and I am SO HAPPY!!!!!!
now you know how much im loving this!!! xxxx
Absolutely love these deconstructions Seth. Particularly like your Lonny Price impression at 1.38 - nailed it!
There were MNY repeats in Evita, but myself, and the entire cast
thought it was a terrific show...almost religious.... we all had a blast doing it.
I even got an award for best supporting actor for my Peron!!!
I have been waiting for this deconstruction for YEARS. I can't wait to see more!!! Patti is life.
Love this so much... love this song, love Patti... and I love the shot outs to the White Album!
I cannot wait for the next episode! So happy these are back!
I always thought that the strange, atonal, extremely dissonant music in this musical really helped it get it's point across. This show can so easily be read as a glorification of Eva Peron. As saying that she was a flawless saint actually. But the music really works against that. It makes you feel the dark underbelly of Evita and her rise to power and makes you constantly a little bit uncomfortable. I really think that that was intentional because Andrew Lloyd Webbers Music after this has sadly never been so weird and interesting again.
Yes…the music gives us a “different” point of view…much the way Che does….very cool…
I love that you're obsessing over Lloyd Webber! Whenever I say he's my favourite composer people just roll their eyes. But he's SO GOOD!
Ahhhh, I'm so happy to see some new deconstructions. Always a delight when you have the time to put these out. You're an inspiration to me as a queer professional musician who obsessively loves (and writes!) musical theatre. Thank you!!!
Yes!! Seth!!! Thank you for defending ALW!
You have such wonderful insights to music.
I just want to watch this series all the time....these are so good!
Ah! Something to live for, thank you.
That's hilarious, I was at the piano just last night playing "Everything's Alright" by ear and I thought to myself halfway through, "wait, am I playing 5/8?" As you said, you don't even realize ALW's weird signatures until you look at the score or try to perform it because it just works.
So great!
I love that this entire video is Seth going "What is that?! I LOVE IT!!!!"
Amazing! Cannot wait for the other songs!
Seth, you are amazing!
Great analysis! About 13:45 - check the chorus and orchestra at the end of the opening number. "Requiem", as the chorus sings "EVITAAAAAA". I believe it's the same collection of notes/chord. Quite characteristic of Eva's mind!
I love you, Seth!
There's also some insane dissonance in the Buenos Aires dance break that "just works".
I didnt expect to laugh so much at this, great video!
I love these videos. You inspire me with my videos.
Your voice grates
Seth - will finally get to see you in Ft. Lauderdale -- you are my connection to home (NYC and Broadway) after moving to Miami.
I love all of the references to the white album!
ALW was trying to push the envelope in musicals with meters but also chords as the strange melody is basically a broken diminished 7th chord.
You know what I love? Your deconstruction videos.
You know what I hate? That you're already married, because I think I'm a little bit in love with you, Seth Rudetsky!
Added to the bucket list: Shake Seth Rudetsky's hand. You're on notice.
Seriously, though, really amazing, informative, educational stuff. Thank you!
Why is this video not available to me?? I need more deconstructions!
when i did this show i was the family and this gave me nightmares ;)
I'm getting "this video is not available" when trying to watch in the UK - Seth can you please check you didn't accidentally set it to USA-only as we're missing out here? ;) Thanks so much - I very much enjoy this series of videos and the White Album has some fantastic singing from Julie C on it that I'd love to hear your take on!
Rich Boden There's no "accidentally" about it, unfortunately. It's because of content bots.
I saw Patti and the original cast on Broadway in the early-1980s. It was a hot ticket and a thrilling performance. Unfortunately, the sound system was so bad that I thought maybe they’d switched to Spanish after doing the album in English! Btw, completely unrelated, but Jethro Tull’s Living in the Past is also written in 5/4 - when I first played it, I stared at the music for a half hour until I could count it correctly. Weird time signature.
I enjoyed that!
Omg puhlease deconstruct gavin creel singing what do I need with love from thoroughly modern Millie because the riffs are gorgeous and his voice is like gold
I wonder how much of the changes from the original London production appeared in the Broadway production due to Paul Gemignani, because Hal Prince famously didn't get on with Anthony Bowles, who conducted the white album and was original MD on the London show, but was removed at HP's insistence?
PG being HP's MD of choice anyway.
I think what we now know as the EVITA stage score was more like HP wanted in the first place but was stopped in London until after AB's removal.
I need that ornament
I learn so much from you.
Loved this - one of my favourite songs from Evita, and now I know a bit more why. I'd still say Julie Covington's 'Screw the middle classes...' is the definitive one - but that's no criticism of Patti LuPone.
I own the "white" album, but I've never actually listened to it. Look's like I'll definitely be listening to it tonight.
I didn't know it existed. I have the movie soundtrack and the latest Broadway revival cast recording, but it was interesting to hear the original cast here.
LuPone on Broadway was actually the third recording. The first was the so-called "white" concept album with Julie Covington. The second was the West End (incomplete) cast album with Elaine Paige.
"White Album" fan! Raises hand!
Was that Mark Syers as Magaldi?
The motifs remind me of the trolley from Mr. Rogers Neighborhood.
I've always wondered if Che's insecticide was ever a best seller in authoritarian Argentina?
i love this discussion of time signatures which I got obsessed with in the 70s n 80's but 5/4 "try not to get worried" he ripped off from a jazz piece n even Don't Cry is very similar to the melody of "besame, besame mucho" crossed with the chorus of Por una Cabeza - Carlos Gardel
It seems like the White Album of this show is lyrically similar to the Madonna movie version.
They went back to some "original" lines from the white album, which Rice didn't like. They changed some lines completely which Rice hated, such as changing "No money, no class" to "No money, no cash" which is just stupid, and probably because Madonna didn't want anyone singing that she had no class!
dohaperson1 Wow! I'd forgotten about the Madonna version. And back then I used to love her. Not in Evita though. I actually like the soundtrack but the film itself is horrid. Might've been better with Meryl Streep in it perhaps. But after seeing the Mamma Mia movie, perhaps not. I did like Into The Woods though.
Streep was too old. I think Jennifer Lopez would have been great, but she hadn't quite hit it big yet. Madonna couldn't act and they didn't seem to understand what the show was really about....tried to make it too sympathetic to Eva but that's not how it's written.
dohaperson1 I'd say that Madonna actually hit just the right mark to be at once sympathetic, but also a bit of a ruthless bitch. To be fair, that was Madonna herself in '96.
She barely acted....she had the same expression in every scene.
The White Album remains definitive.
This video has been showing as "unavailable" for the last week so I can't watch it here in the UK it seems :(
Please analyse Bjork's "Moon". Thanks in advance.
it’s so bizarre, aNd YeT....
Well this is fun
Will you ever record in your old spot again? I loved the view lol
The last two were in the spot I usually use! Which one do you mean? I moved into this apartment 4 years ago!
Seth Rudetsky ohh I meant like your really old spot next to the window where you can see all the cars and stuff
Old spot? Those were the ones I did for Sony. i did a million more in my apartment!!!
Thank you so much for doing this! Evita is my favorite show! So wonderful to hear all your great insight!
I'm more of a Eliane Paige fan myself when it comes to Evita.
Seth I know this post is 3 years old. Know where I can find the Évita ornament?🌈✌🏾👍🏾❤️⭐️
BroadwayCares.org
There's also the whole bridge in Heaven on their minds that is 5/4
💜❤😍
cool
Didn't Andrew Lloyd-Webber write Phantom, too? Or do I have that wrong?
Taylor Wiseman no, you’re right!
I agree that the score of Evita is difficult.. especially if your playing Eva
Che's part is also soooo hard. He has to go very deep, even deeper than the low Es in Buenos Aires, but he also has to go up very high in songs like "Good Night and Thank you" and "The Money kept rolling in". I guess Andrew Lloyd Webber thinks that The male voice can turn into a tuba and a high electric guitar whenever he wants.
Schagy.Adrian - I believe Che’s vocal range goes from F2 - G5
@@isaiahbaston Wow,
that are some octaves.
Schagy.Adrian - Yup, it’s honestly insane. Almost as vocally demanding as Eva.
Is Seth in a dorm room 😣🤣
16:30 …And to trample their rotten values into the ground!
I must be the only one who didn't care for the so-called White Album. I greatly disliked Julie Covington's Eva. She sounded bored the entire time. Later, I learned that she only did it as a favor to ALW, and it made sense. I also hate the way she mispronounced certain words, like descamisados. She kept saying day-camisados. Everyone else said it perfectly. Why did no one correct her?
I honestly couldn't stand Covington on the concept album because of all the wrong notes and the shrieky nature of her voice. Funny this is, for some time after listening to her on that album I was of the opinion that she could not sing at all and had a trainwreck of a voice. Interestingly years later I enjoy her performance on that album. I still think she is pitchy and delivers some of the lyrics in a very stiff manner but overall my ears don't bleed like they used to. I agree about "day-camisados" though. It's one thing to not sound like a fluent Spanish speaker, it's another to say the words so wrong, that you almost blame others more for not correcting her at all. Like were they deaf or something? lol.