At least we didn't miss "Goodnight and thank-you." And "Peron's Latest Flame" was perfect. (That song always makes me think of my friend Banana, because we saw the movie together and she died laughing at the scene of showering men singing.)
We had a great view from the back, but without my glasses I couldn't see facial expressions. So it was still nice after intermission to go down to row K. We were right in the middle, so my view of "Don't Cry For Me Argentina" was exactly like this:
When Evita came out on the stage in her glowing white dress, it was one of those Great Moments in Theater, when you experience that whole "oooh zee magique of theatah!" And Chilina Kennedy blew me away throughout. I only know the Madonna version, which is very good, but the director of that film brought out a more tender, vulnerable side of Evita.
In this version, she's one tough broad. Still vulnerable, but really hiding it. The force of her personality sort of pinned you to the back of your seat. The other actors were great, but on par with the film version. Kennedy, on the other hand, was just a totally different version than the Madonna/Alan Parker version. Really electric.
Here's her "Don't Cry for Me". Her acting in this scene was riveting.
And here's Madonna in the Alan Parker film--the end of this scene is played as really heartbreaking; whereas in the Stratford version, Evita is singing faster and almost yelling at God. Two really great ways to do it, and shows how much a director's vision brings you something new. In a good production, anyway. Well worth The Race to Stratford.
Sitting next to us was a nice couple from Michigan who've been going to Strat for 40 years. Unfortunately they told us that the first 20 minutes we missed was really powerful.
So then, I hated them.
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