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Evita is an opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Perón, the second wife of Argentinian president Juan Perón. The story follows Evita's early life, acting career, rise to power, charity work, feminist involvement and eventual death.

Evita began as a concept album released in 1976. Its success led to productions in London's West Endmarker in 1978, and on Broadwaymarker 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.

History

In 1972, Robert Stigwood proposed Lloyd Webber and Rice develop a new musical version of Peter Pan, and although neither one was keen on the idea, they agreed to try. Before long they decided the children's fantasy was too juvenile for their tastes, and they abandoned the project. After discussing Joan of Arc and Mata Hari as possible subjects, Rice mentioned a radio play about Eva Duarte de Perón he recently had heard and found mesmerizing. The idea of writing a score including tango, paso dobles, and similar Latin flavors intrigued Lloyd Webber, but he ultimately rejected the idea. He preferred concentrating on the P. G. Wodehouse character of Jeeves as the focus of a traditional Rodgers and Hart-style musical.

The more Rice investigated Eva Perón, going so far as to travel to Buenos Airesmarker to research her life, the more fascinated he became by the woman; he even named his first daughter after her. He was unable to convince his partner she was worthy of their attention, and Lloyd Webber decided instead to collaborate with Alan Ayckbourn on Jeeves, which proved to be a critical and commercial failure. The chastened composer returned to Rice and asked him to outline the history of Eva Perón, which Rice did in the form of an obituary. Nicholas Fraser and Maryssa Navarro suggested in their 1996 book Evita: The Real Life of Eva Perón that the musical was based on Mary Main's biography The Woman with the Whip, which was extremely critical of Eva Perón. Though Rice praised the Main biography, it was never officially credited as source material. Lloyd Webber's interest was ignited by Rice's passion, and the two began work. Rice suggested that they create a character known as Ché to serve as an observer and narrator. It was not his intention to base him on Che Guevara, but when Harold Prince later became involved with the project, he insisted that the actors portraying Ché use the revolutionary as a role model. In the 1996 film adaptation the character returned to his more anonymous roots.

As they previously had done with Superstar, the songwriting team decided to record Evita as an album musical and selected Julie Covington, who was obscure but was soon to be known for her appearances on the television series Rock Follies, to sing the title role. Released in 1976, the two-disc set included Paul Jones as Juan Perón, Colm Wilkinson as Ché, Barbara Dickson as Perón's mistress, and Tony Christie as Agustín Magaldi. Lloyd Webber and conductor Anthony Bowles coached the singers through the end of 1975 and all of 1976 and presented the musical at the second Sydmonton Festival before entering the studio with the London Philharmonic Orchestra to make the recording. Prior to its release, they flew to Majorcamarker to play it for Harold Prince and invite him to become involved with the eventual staging. Prince agreed, commenting, "Any opera that begins with a funeral can't be all bad," but advised them he would not be free to take on any new commitments for the next two years. In the meanwhile, he wrote a 3,000-word memo outlining his suggestions for the production, among which was the idea Evita should be played by three different actresses, each portraying a different aspect of her character.

In Britain, Australia, South Africa, South America, and various parts of Europe, sales of concept album exceeded those of Jesus Christ Superstar; in the United States, however, it never achieved the same level of success. Covington's recording of "Don't Cry for Me Argentina" (originally titled "It's Only Your Lover Returning") was released in October 1976. It reached #1 on the UK Singles Chart and enjoyed similar success internationally. Dickson's "Another Suitcase in Another Hall" also became a hit. In the US and UK respectively, Karen Carpenter and Petula Clark each released cover versions of "Don't Cry for Me, Argentina" which were noteworthy in that they 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. Much of the music in Evita is classical in style: the opening features a choral piece ("Requiem for Evita"), and there is a choral interlude in "Oh What a Circus". There are a number of instrumental passages throughout the musical such as the orchestral version of the "Lament" and the introduction to "Don't Cry for Me Argentina", all of which form an integral part of the framework of the composition. There is, however, quite an eclectic use of styles in Evita, with some gentle ballads such as "High Flying, Adored" and "Another Suitcase in Another Hall", and the rhythmic, Latinate styles prominent in pieces such as "Buenos Aires", "And the Money Kept Rolling in (And Out)" as well as the slower "On This Night of a Thousand Stars". There is some rock music that can be heard briefly in "Oh What a Circus", "Peron's Latest Flame" and "The Lady's Got Potential" (a rock song that was cut from the original production but reinstated for the 1996 film with revised lyrics by Tim Rice).

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 she 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 Ché does not share the nation's grief.

Upset with the suggestions Prince had made earlier, Rice was inclined to look elsewhere for a director when the revised work was ready to be staged. Lloyd Webber disagreed and ultimately prevailed, and the two approached Prince again. He advised them he would be ready to start rehearsals in early 1978. When he began working on the project in May, he changed very little, other than deleting Ché's rock number "The Lady's Got Potential," which introduced a subplot about his being a research chemist who developed an insecticide and aspired to capitalize on his invention but was rejected by Eva when he approached her. Prince requested a song he could stage to chart Perón's rise to power, and Rice and Lloyd Webber responded with the musical chairs number "The Art of the Possible," during which military officers are eliminated until only Perón remains.

The rehearsal period lasted five weeks. Inspired by the murals of Diego Rivera, Prince suggested the proscenium be flanked by artwork depicting the struggles of the Argentinean peasants. He was unhappy with the original monochromatic costumes designed for the chorus members and dancers, and he had them go to a charity outlet store and other secondhand clothing shops to purchase something to wear.

Evita opened in London's West Endmarker on June 21, 1978, and on Broadwaymarker the following year.

Synopsis

Act One
A wordless opening reveals a cinema in Buenos Airesmarker, Argentinamarker on July 26, 1952, where an audience is watching a film ("A Cinema in Buenos Aires, 26 July 1952"). During the film, an announcer interrupts with the message (begun in Spanish, but fading into English) that "Eva Perón 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 1935. She has her first love affair with tango singer Agustín Magaldi ("On This Night of a Thousand Stars"). Eva blackmails Magaldi into taking her with him to Buenos Aires ("Eva, Beware of the City"). 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 then tells of both a right-wing coup in 1943 and Eva's success, implying that Argentinian politics and Eva's career may soon coincide ("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.

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 hints that she could help Perón rise to power ("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"). 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 recounted, including the Army's attempts to imprison and silence Perón and Perón's questionable campaign practices ("A New Argentina").

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. She prepares to tour in Europe as she is dressed for success by her fashion consultants ("Rainbow High"). The success and decline of her famous 1946 tour are chronicled ("Rainbow Tour"); Spaniards adore her, the Italians liken her to Mussolini, France is unimpressed, and the English snub her by inviting her to a country estate, not Buckingham Palace. 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 (And Out)").

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; Ché is disillusioned with Eva's self-serving behaviour, while Eva cynically replies that there is no glory in trying to solve the world's problems as he advocates ("Waltz for Eva and Che"). 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"). A dying Eva renounces her pursuit of the vice presidency and swears her eternal love to the people of Argentinamarker ("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 and raising children("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, when Evita's body disappeared for seventeen years...."

Song list (original Broadway production)

Act I
  • A Cinema in Buenos Aires, 26 July 1952° – Crowd
  • Requiem for Evita – Chorus
  • Oh, What a Circus – Ché and crowd
  • 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, Aristocrats and Soldiers
  • 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, Aristocrats and Ché
  • And the Money Kept Rolling In (And Out) – Ché, Crowd
  • She is a Diamond – Perón, Soldiers
  • Santa Evita – Chorus
  • Waltz for Eva and Ché – Evita and Ché
  • Dice are Rolling – Perón and Evita
  • Eva's Final Broadcast – Evita
  • Montage – Chorus
  • Lament – Evita


Notes:
  • °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.
  • See Evita for the song list from the 1976 concept album


Historical accuracy of the story

After leaving Peronist Argentina in the mid-1950s, Guevara moved to Cubamarker. 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.

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 Airesmarker 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.

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.

Productions

Poster for the Broadway production with Patti LuPone in the title role
1978 London production
Evita opened at the Prince Edward Theatremarker on 21 June 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. Paige was succeeded by Marti Webb, Stephanie Lawrence, Kathryn Evans and Michele Breeze as well as Siobhán McCarthy who had played The Mistress when the show opened. Similarly, Mark Ryan who had first starred as Magaldi later assumed the role of Che.

In his review in The Sunday Times, Derek Jewell called the show "quite marvelous" and described Lloyd Webber's "ambitious" score "an unparalleled fusion of 20th century musical experience" and Rice's lyrics as "trenchant" and "witty". Bernard Levin of The Times, citing it as "one of the most disagreeable evenings I have ever spent in my life," objected to this "odious artifact . . . that calls itself an opera ... merely because the clichés between the songs are sung rather than spoken."

1979 Broadway production
The show opened at the Broadway Theatremarker on 25 September 1979, and closed on 26 June 1983, after 1567 performances and 17 previews. Patti LuPone starred as Eva 'Evita' Peron, with Mandy Patinkin as Ché and Bob Gunton as Perón. 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. A 1989 world tour cast included Lacey as Eva, James Sbano as Ché and Robert Alton as Perón.

1981 Madrid production
The musical's Spanish-language version premiered at the Teatro Monumental in Madridmarker on 23 December 1980, directed by Jaime Azpilicueta and with Paloma San Basilio as Eva, Patxi Andión as Ché, Julio Catania as Perón, Tony Landa as Magaldi and Montserrat Vega as Peron's misstress. The song "No llores por mí, Argentina" became a hit single and was interpreted by singers like Nacha Guevara. The Spanish-language production later played in Barcelona and other cities, as well as in Latin American tours.

1987 UK touring production
Evita commenced a tour of the UK and Ireland starring Rebecca Storm as Eva and Chris Corcoran as Che.

1995 UK touring production
Original West End producers Robert Stigwood and David Land put together a production starring Marti Webb as Eva, Chris Corcoran as Che and Duncan Smith as Peron which toured the UK throughout 1995. Despite some criticism over the casting of Webb at the age of 50, the success of the tour saw it being extended throughout 1996.

1995 US Touring Production
RUG and other producers conducted a United-States based national tour in anticipation of the film version, starring Madonna. The tour lasted over a year, and featured several actresses in the title role. Most prominently, it starred future Tony-nominee Marla Schaffel.

1998–1999 20th anniversary US touring production (Pre-Broadway)
In November 1998 a US tour commenced featuring a new, yet similar version of Evita to the Original Broadway production, which was slated to land on Broadway in the 1999–2000 Broadway season. The tour starred Natalie Toro in the title role, with a little known Raul Esparza as Che. Raymond Jaramillo McLeod was Juan Peron. This particular cast brought Evita to a more Latin-theme. Toro received excellent reviews, along with her leading men. Despite several factors, the show closed out of town in Boston, MA, in the summer of 1999. Several sources list more financial backing was needed, while others were as simple as not enough available theatres.

2002 Tartu, Estoniamarker
Evita played in a small run of performances in Tartumarker, the 2nd biggest town of Estonia, as an open air production on the town hall square of Tartu in June 2002. The set had been integrated to the buildings on two sides of the town hall square (the balcony scene!), also to the historical Town Hall building itself and a famous fountain right in front of it. Siiri Sisask, Estonia`s rock and folk queen, was cast as Eva, while Tõnis Mägi, the King of Estonian pop scene, sang the role of Che. Juan Peron was portrayed by a drama actor Vaikko Täär. Evita will return to Estonia in late 2009, now indoors in Tallinnmarker, with Maarja-Liis Ilus in title role.

2006 London revival
On 2 June 2006, the first major London production of Evita in 25 years opened at London's Adelphi Theatremarker, 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.

2004–2005; 2007–2008 US tour
A US tour began in November 2004, and featured Broadway actress Kathy Voytko as Eva Peron, as part of a tour that would bring interest to Evita finally being revived. The tour production was supervised by Hal Prince, with direction by Prince and Larry Fuller. It also starred Broadway actor Bradley Dean. The tour, although receiving many negative reviews, closed in December 2005, ending before Evita had announced a possible transfer.

When Evita closed in London in May 2007, the tour announced it would go Non-Equity and continue touring, which it did until June 2008. Evita has yet to return to Broadway since its initial Broadway mounting, despite two opportunities.

2008–2009 UK tour
A UK tour opened on 22 May 2008. The cast includes Rachael Wooding as Eva, Seamus Cullen (a finalist in the BBC show Any Dream Will Do) as Che, and Mark Heenehan as Perón. Wooding took over the role from Louise Dearman in December 2008.

Notable actresses
Other notable actresses playing the role of Evita around the world have included Paloma San Basilio (1981, Spain); Rocio Banquells (1981, Mexico); Michele Breeze (1982, New Zealand); Cláudia Oliveira (1982, 1986, Brazil), Silvia Massari (1982, Brazil) Pia Douwes and Doris Baaten (1996, The Netherlands and Belgium), Brigitte Heitzer (2007 The Netherlands), Kelsey Burd (Illinois State University, 2009) and Ann Mandrella (2009-2010 Germany).

Casts

Original London production

  • Elaine Paige (1978-1980) as Eva
  • David Essex as Che
  • Joss Ackland as Peron
  • Siobhán McCarthy as The Mistress
  • Mark Ryan as Magaldi


  • Marti Webb (1979-1980) as Eva (initially as an alternate to Paige)
  • Stephanie Lawrence as Eva (initially as an alternate to Webb)
  • Siobhán McCarthy as Eva
  • Kathryn Evans as Eva
  • Michele Breeze as Eva


Broadway

  • Patti LuPone as Eva (1979-?)
  • Mandy Patinkin as Che
  • Bob Gunton as Peron


US National Tours

  • Natalie Toro (1998-1999)
  • Kathy Voytko (2004-2005)


UK Tours

  • Rebecca Storm (1987-?)
  • Marti Webb (1995)
  • Louise Dearman (2008)
  • Rachael Wooding (2008-Present)


2006 London production

  • Elena Roger as Eva
  • Abbie Osmon as an alternate to Elena Roger
  • Philip Quast as Juan Peron


Film adaptation

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. 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).

Awards and nominations

Olivier Awards 1978
  • Best New Musical
  • Performance of the Year in a Musical — Elaine Paige


Tony Awards
  • 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)


Drama Desk Awards


  • 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
  • Best Lyricist


Cultural impact

Evita came in sixth in a BBC Radio 2 listener poll of the UK's "Number One Essential Musicals".

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 Vote 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".

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.
  • 1976 concept album
  • 1978 London cast
  • 1979 Broadway cast
  • 1996 film soundtrack
  • 2006 London cast


References

  1. Citron, Stephen, Sondheim & Lloyd-Webber: The New Musical. New York, New York: Oxford University Press 2001. ISBN 0-19-509601-0 pp. 191-94
  2. Citron, pp. 195-97
  3. Fraser, Nicholas, and Navarro, Marysa. Evita: The Leal Life of Eva Perón, p. 199. New York: W.W. Norton & Company 1996. ISBN 0-393-31575-4
  4. Citron, p. 223
  5. Programme notes, 2006 London production
  6. Citron, p. 229
  7. Citron, p. 230
  8. Citron, p. 226
  9. Citron, p.231
  10. Citron, pp. 231-32
  11. 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.
  12. 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.
  13. The song "Partido Feminista" follows this in the movie version, depicting another of Eva's speeches.
  14. This song was written for the 1996 film and later added to the stage version.
  15. Anderson, Jon Lee. Che Guevara: A Revolutionary Life. ISBN 0802135587
  16. Navarro, Marysa and Fraser, Nicholas. Evita: The Real Life of Eva Peron
  17. Eva Peron, 1996 Argentinian film biography of Eva Peron
  18. Inverne, J: "Jack Tinker: A Life in Review", page 21. Oberon, 1997
  19. Citron, pp. 232-33
  20. Tour listingbroadwayworld.com, accessed March 6, 2009
  21. Evita tour listingtimrice.co, accessed March 6, 2009
  22. Jones, Kenneth. "Rainbow Tour: Kathy Voytko Is Evita in New Prince-ly Road Company, Taking Off Nov. 2", playbill.com, November 2, 2004
  23. 2008 UK tour information from the Really Useful Group website


External links




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