Cast Size: Small (1-10) • Medium (5-21). Vocal Demands: Moderate • Challenging. Dance Requirements: Extensive • Some Dancing Required • Minimal. Good For: High School • College/University • Amateur/Community • Professional Theatre.
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Like JESUS CHRIST SUPERSTAR, Andrew Lloyd Webber and Tim Rice’s EVITA began first as a double album in 1976 followed by the stage production at the Prince Edward Theatre in London in 1978. The show was conceived after Tim Rice visited Argentina in February 1974. The story itself tells the tale of Eva Peron, Argentina’s controversial First Lady, and her rise to fame.
EVITA premiered at the Broadway Theatre in New York on September 25, 1979, where it would run for 1,567 performances. The show marked legendary director Hal Prince’s first collaboration with Webber (they would later team up for PHANTOM OF THE OPERA in 1988).
The 1981 cast recording was awarded a Grammy Award, and there have been over 100 covers of the hit single "Don't Cry for Me Argentina." The song was first recorded by Julie Covington and sold over 2 million copies—it was Webber and Rice's first UK no. 1. Pop-star Madonna played the title role alongside Antonio Banderas and Jonathan Pryce in the 1996 movie version. The first major revival of EVITA, directed by Michael Grandage and starring Elena Roger, opened at the Adelphi Theatre in London June 21, 2006 to rave reviews.
L.A. Drama Critics Circle AwardsJanuary 01, 1980 — Awards including Distinguished Achievement
January 01, 1980 — Awards including Distinguished Achievement
Laurence Olivier Awards (London)January 01, 1978 — 2 Awards for Musical of the Year and Performance of the Year in a Musical
Golden Globe AwardsJanuary 01, 1997 — 3 Awards including Best Motion Picture (Comedy/Musical) and Best Original Song
Drama Desk AwardsJanuary 01, 1980 — 6 Awards, including Outstanding Musical, Outstanding Music and Outstanding Lyrics
Academy AwardsJanuary 01, 1997 — Best Music–Original Song
Vocal Range of Characters:
Written By: Andrew Lloyd Webber
EVITA was Tim Rice's idea. He was very intrigued by the fact that she was mentioned in the context of a whole load of fifties figures who were very successful, including people like James Dean, and I think he was curious to find out why she became this kind of cult figure, this huge figure in Argentina. And I think he became very attracted to the story.
The biggest problem for me as the composer of it is that of course I could have let the whole thing go as a high romance. I could make everybody cry their eyes out at the end of all this, but that was not the point of the piece. In a way, the piece had to keep this slightly Brechtian approach to the whole thing, where you have the Ché character able to commentate on the quite grisly things that she did. And to turn her into some sort of great romantic figure would have been really quite easy. But no, I never fell in love with the woman—very much the reverse. When Tim talked to me about the idea of doing the piece, I thought that if I could crack the moment where she did some piece which indeed did turn into an anthem, then I would have done it. This is a very interesting dramatic thing, because here you have a song that represents Eva Perón at her very height and at her most manipulative—when she's speaking on the Casa Rosada balcony—and yet the song eventually turns on her. When she does the final broadcast, it becomes something which is really pathetic. And I thought, if I could crack that, then I've got a dramatic line through the piece from which most other things would follow. And so, in fact, "Don't Cry for Me" was the first thing I wrote. And if that hadn't happened, I don't think we would have gone on to do EVITA. It's very hard, because I just know that we had to have one central thing like that. It was the gangplank of the whole thing. But, in fact, the song that would carry the show or would carry the person playing Eva Perón in the theater was "Rainbow High." If the artist cracked that, then the show was theirs.
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- Orchestration Package (23 Books)
- 1 – REED I (Flute Doubling Piccolo)
- 1 – REED II (Oboe Doubling English Horn)
- 1 – REED III (Clarinet I)
- 1 – REED IV (Clarinet II doubling Bass Clarinet and Bassoon)
- 1 – HORN I
- 1 – HORN II
- 1 – TRUMPET I
- 1 – TRUMPET II
- 1 – TROMBONE (Doubling Bass Trombone)
- 2 – VIOLIN (Divisi)
- 2 – CELLO
- 1 – BASS (Fender, String, Bass Guitar)
- 1 – GUITAR I (Acoustic Guitar, Electric Guitar)
- 1 – GUITAR II (Acoustic Guitar, Electric Guitar)
- 2 – PERCUSSION (see list below)
- 1 – DRUMS
- 1 – HARP
- 1 – KEYBOARD I (see list below)
- 1 – KEYBOARD II (see list below)
- 1 – Piano Conductor Scores
- Rehearsal Set (26 Books)
- 20 – Libretto-Vocal Books
- 1 – Logo CD
- 6 – Piano Conductor Scores
- 1 – Logo sheet
- 0 – Digital Logo
- Evita-You Must Love Me-Orchestra
- 2 – Piano Conductor
- 1 – Piano
- 1 – Vocal
- 1 – Cello
- Libretto/Vocal Books 10 pack
- 10 – Libretto-Vocal Books
- EVITA - PRE-PRODUCTION PACKAGE
- 1 – Libretto-Vocal Books
- 1 – Piano Conductor Scores
Singing-dancing ensemble consisting of the people of Argentina
Men, Women and Children of Argentina
EVITA takes place in Argentina between 1934 and 1952.
A Cinema in Buenos Aires
A Nightclub in Junin
A Vaudeville Stage
Backstage at the Theatre Colon
The face of the Casa Rosada