Annie (musical) - Wikipedia
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It reached 1 on the UK Singles Chart  and enjoyed similar success internationally. Dickson's " Another Suitcase in Another Hall " also became a hit. Musical analysis[ edit ] The musical employs an eclectic range of styles.
Classical music in Evita includes the opening choral piece "Requiem for Evita" and a choral interlude in "Oh What a Circus", as well as instrumental passages throughout the musical such as the orchestral version of the "Lament" and the introduction to "Don't Cry for Me Argentina". The song was reinstated for the film with revised lyrics by Rice, and has also been used in Japanese,  Czech and Danish  stage productions to expand on Argentine history for audiences less familiar with the subject.
Historical accuracy[ edit ] Tomas Eloy Martinez noted: They are myths which somehow reproduce the image of Christ.
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Some critics also suggested that Rice's lyrics disparaged Evita's achievements unnecessarily, particularly her charity work.
According to Navarro and Fraser, [Evita] was based for the most part on the earliest and seamiest versions of Evita's life, something happened to the tale in its retelling and the Evita who emerged each evening, dressed first as a teenager, then a hooker, and finally, in tulle and silver foil, as First Lady, was far from being unsympathetic. The True Storyasserting that it corrected distortions in the musical's account.
Prince agreed, commenting, "Any opera that begins with a funeral can't be all bad", but he advised them that he could not take on any new commitments for the next two years. Some songs were dropped and some shortened, while others were introduced and some lyrics rewritten. Prince eventually confirmed that he would be ready to start rehearsals in early When he began working on the project in May, he suggested few changes, other than for deleting Che's rock number "The Lady's Got Potential".
This set the precedent until the show closed, with Lawrence becoming Webb's alternate. Michele BreezePaige's original understudy never inherited the role in London but later created it for the original New Zealand production. Susannah Fellows also understudied Eva. In his review in The Sunday TimesDerek Jewell called the show "quite marvellous" and described Lloyd Webber's "ambitious" score "an unparallelled fusion of 20th century musical experience" and Rice's lyrics as "trenchant" and "witty".
Bernard Levin of The Times disliked it, however, calling it as an "odious artefact The set was minimal, with a scaffolded balcony running along the back and sides of the stage and images projected onto a screen above.
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Madame Tussauds produced a wax figurine of Eva, based on Elaine Paige, for the coffin during the funeral scene at the beginning of the show. Inspired by the murals of Diego RiveraPrince suggested the proscenium be flanked by artwork depicting the struggles of the Argentine peasants.
He jettisoned the original monochromatic costumes designed for the chorus members and dancers; instead, he had them go to charity and secondhand clothing shops to purchase costumes. Some releases mistakenly refer to the concept album as the Original London Cast Recording.
The original London production transferred to the Opera House in Manchester for an extended run following its closure at the Prince Edward Theatre. Original Broadway production[ edit ] Poster for the Broadway production with Patti LuPone in the title role After debuting at the Dorothy Chandler Pavilion in Los Angeleswith a subsequent engagement at the Orpheum Theatre in San Francisco the Broadway production opened at the Broadway Theatre on 25 September and closed on 26 Juneafter 1, performances and 17 previews.
Harold Prince directed with choreography by Larry Fuller. New York Times critic Frank Rich stated: 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. LuPone has stated about her time in Evita: She also understudied Alice Ghostley and Dolores Wilson.
It played in Miami from April 12 to May 13, then continued for a few more cities until it landed in Chicago where it played for 32 weeks.
In Aprilit continued on the road in with Mary K. Lombardi now in the lead as Annie. In the fall ofTheda Stemler took over the part and was replaced in Boston when she grew too old.
On May 15,Louanne Sirotawho had played Annie in the long-running Los Angeles production see belowtook over the role for four months. On June 12,Sirota, just 9 years old up until that time, all Annies had been 11 years oldtook over the role from Patts. Marisa Morell took the role in Decemberclosing the Los Angeles run and continuing on tour with the show through December Kristi Coombs then played Annie until this touring company closed in Philadelphia on January 23, Alyssa Milano played one of the orphans in The 3rd National Touring Company opened in Dallas on October 3, with Rosanne Sorrentino who would later go on to portray Pepper in the film version in the title role.
This company toured to 23 cities playing mostly shorter runs of a month or less. On March 27,Bridget Walsh took over as Annie. Becky Snyder who had closed the 1st National Tour joined this company in the summer of and stayed with it until it closed in September of that year.
This production was a "bus and truck" tour, with a slightly reduced cast, that traveled the country and often played in two cities a week.
This company was still touring when the original Broadway production closed in Januarymaking Kathleen Sisk the final performer to play Annie from the original production team. This tour closed in September Andrea McArdlethe original Broadway Annie, played the title role for 40 performances.
British year-old Ann Marie Gwatkin was also cast in the title role and appeared on the Original London cast recording. The first was as the character July in the chorus and the second was playing the title role of Annie. ITV Wales commissioned two documentaries about this young Welsh girl and her rise from obscurity to a West End leading lady. Annie closed on 28 Novemberafter performances. UK tour[ edit ] The musical transferred to the Bristol Hippodrome for a special Christmas season before touring Britain.
Because of strict British employment laws for juvenile actors, a succession of actresses took on the lead role every four months. One of the last girls to perform the role at the Victoria Palace before the show went on tour was year-old Claudia Bradley from Leeds who was featured on a BBC programme called Fame.
Broadway revival [ edit ] A 20th anniversary Broadway revival, which played at the Martin Beck Theatre now called the Al Hirschfeld Theatre inentitled Annie, the 20th Anniversary,  starred Nell Carter as Miss Hannigan, but controversy surrounded the casting of the titular character.
The original actress cast in the role, Joanna Pacittiwas fired and replaced by her fellow orphan, Brittny Kissinger  who usually played orphan July just two weeks before her Broadway debut, while battling bronchitis in Boston.What's New, America!? Meet the Cast of the "Evita" Tour Before It Flies High Across the Country
The producers then gave Kissinger the next performance. The show then moved on to the Oakdale in Connecticut where an insert was placed in the Playbill claiming "The Role of Annie is now being played by Brittny Kissinger".
Public sentiment seemed to side with Pacitti as she was the winner of a highly publicized contest to find a new Annie sponsored by the department store Macy's. This incident, coupled with the mixed reviews the new staging garnered, doomed it to a short run, although it was followed by a successful national tour.
Kissinger, then 8, became the youngest actress to ever play Annie on Broadway. More controversy surrounding the show involved Nell Carter. Carter reportedly was very upset when commercials promoting the show used a different actress, Marcia Lewis, a white actress, as Miss Hannigan.
The producers claimed that the commercials, which were made during an earlier production, were too costly to reshoot.
Carter felt that racism played a part in the decision.