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Cover of Original Broadway Recording
Music Andrew Lloyd Webber
Lyrics Tim Rice
Productions 1976 concept album
1978 West End
1979 Broadway
1996 Film
2006 West End revival
2008 UK Tour
Awards Olivier Award for Best New Musical
Tony Award for Best Musical
Tony Award for Best Score
Tony Award for Best Book

Evita is a musical 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 rock opera concept album released in 1976. Its success led to productions in London's West End in 1978, and on Broadway 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.



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 tangos, 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.[1]

The more Rice investigated Eva Perón, going so far as to travel to Buenos Aires 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.[2] 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.[3] 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.[4] In the 1996 film adaptation the character returned to his more anonymous roots.[5]

As they previously had done with Superstar, the songwriting team decided to record Evita as an album musical and selected newcomer Julie Covington, who was soon to become 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.[6] Prior to its release, they flew to Majorca 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 he advised them that he could not 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 that Evita should be played by three different actresses, each portraying a different aspect of her character.[7]

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")[8] was released in October 1976. It reached #1 on the UK Singles Chart[7] and enjoyed similar success internationally. Dickson's "Another Suitcase in Another Hall" also became a hit. In the U.S. and UK, respectively, Karen Carpenter and Petula Clark released cover versions of "Don't Cry for Me, Argentina", both preserving 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. Classical music in Evita includes the opening features a 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 musical employs an eclectic range of styles, including gentle ballads such as "High Flying, Adored" and "Another Suitcase in Another Hall", and rhythmic, Latinate styles prominent in pieces such as "Buenos Aires", "And the Money Kept Rolling in (And Out)" and "On This Night of a Thousand Stars". Rock music includes "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, as well as being used in the Japanese,[9] Czech,[10] and Danish [11] productions on-stage).

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.

Unhappy 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 that 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.[12]

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 jettisoned the original monochromatic costumes designed for the chorus members and dancers, and he had them go to charity and secondhand clothing shops to purchase costumes.[13]

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


Act One

A wordless opening reveals a cinema in Buenos Aires, Argentina 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 1936. 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.[14]

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").[15] 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)").[16]

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").[17] A dying Eva renounces her pursuit of the vice presidency and swears her eternal love to the people of Argentina ("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

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 – Eva, Magaldi and Evita's Family
  • Buenos Aires – Eva and Ensemble
  • Goodnight and Thank You – Ché, Eva and Lovers
  • The Lady's Got Potential (cut in 1976 and replaced by next song) – Ché
  • The Art of the Possible – Perón, Generals, Eva
  • Charity Concert – Perón, Ché, Magaldi, Eva
  • I'd Be Surprisingly Good For You – Eva and Perón
  • Hello and Goodbye – Eva
  • Another Suitcase in Another Hall – Perón's Mistress
  • Peron's Latest Flame – Ché, Aristocrats and Soldiers
  • Dice ar rolling - Peron, Eva
  • A New Argentina – Eva, Ché, Perón, Chorus
Act II
  • Entr'acte
  • On The Balcony of the Casa Rosada – Perón, Ché, Descamisados
  • Don't Cry for Me Argentina – Eva
  • On The Balcony of the Casa Rosada 2 – Eva
  • High Flying Adored – Ché and Eva
  • Rainbow High – Eva
  • Rainbow Tour – Perón, Advisers, Ché
  • The Actress Hasn't Learned the Lines (You'd Like to Hear) – Eva, 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 – Eva and Ché
  • You Must Love Me - Eva
  • Dice are Rolling (Reprise) – Perón and Eva
  • Eva's Final Broadcast – Eva
  • Montage – Eva, Ché, Peron and Chorus
  • Lament – Eva


  • °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

Ché as well as Evita symbolize certain naïve, but effective, beliefs: the hope for a better world; a life sacrificed on the altar of the disinherited, the humiliated, the poor of the earth. They are myths which somehow reproduce the image of Christ.[18]
Mandy Patinkin as Che in the 1979 Broadway production

After leaving Peronist Argentina in the mid-1950s, Guevara moved to Cuba. 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". 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.[19]

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 Aires 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.[20]

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", asserting that it corrected distortions in the Lloyd Webber account.[21]


Poster for the Broadway production with Patti LuPone in the title role
1978 London production

Evita opened at the Prince Edward Theatre on 21 June 1978 and closed on 8 February 1986, after 2,900 performances.[22] Elaine Paige played Eva with David Essex as Che and Joss Ackland as Peron.[23] Paige had been selected from a large number of hopefuls, after Julie Covington elected not to take the role. The production was directed by Harold Prince, choregraphed 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.[24] 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."[25]

1979 Broadway production

The show opened at the Broadway Theatre on 25 September 1979 and closed on 26 June 1983, after 1,567 performances and 17 previews. Patti LuPone starred as Evita, 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). [26] 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.[citation needed]

1981 Madrid production

The musical's Spanish-language version premiered at the Teatro Monumental in Madrid 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.

1994 US tour

A United States national tour was produced in anticipation of the film version, starring Madonna. The tour lasted over a year and featured several actresses in the title role, including future Tony-nominee Marla Schaffel. The touring production was directed and choreographed by Larry Fuller and featured Daniel C. Cooney as Che.[27]

1995 UK tour

Original West End producers Robert Stigwood and David Land produced a tour 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 led to extensions throughout 1996.[28][29][30]

1998–1999 20th anniversary U.S. touring production

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.[31] This production focused more on Latin themes.[32] Toro received excellent reviews, along with her leading men. The show closed out of town in Boston, Massachusetts, in the summer of 1999. Evita has yet to return to Broadway.

2006 London revival

On 2 June 2006, the first major London production of Evita in 25 years opened at London's Adelphi Theatre, directed by Michael Grandage with Argentine actress Elena Roger as Eva, Philip Quast as Perón, and Matt Rawle as Ché.[33] 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 ticket sales were slow, and the production closed on May 26, 2007, after a run of less than twelve months.[34]

2004–2005; 2007–2008 U.S. tours

A U.S. tour began in November 2004 with Kathy Voytko as Eva. The production was supervised by Prince, with direction by Prince and Larry Fuller.[35] It also starred Broadway actor Bradley Dean. The tour closed in December 2005.[32] When Evita closed in London in May 2007, the production re-started as a Non-Equity tour, playing until June 2008.

2008–2009 UK tour

A UK tour opened on 22 May 2008.[36] 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, James Waud as Magaldi who the role in a competition, and Nikki Mae as Mistress.

2011-2012 planned Broadway revival

The New York Post reported, on February 24, 2010, that a Broadway revival is planeed for 2011 "at a Nederlander theater" and that Elena Roger will play the title role, with direction by Michael Grandage and choreography by Rob Ashford.[37][38]

Notable actresses

Notable actresses playing the role of Evita around the world have included Paloma San Basilio (1981, Spain); Rocío Banquells (1981, Mexico); Michele Breeze (1982, New Zealand); Cláudia Oliveira (1982, 1986, Brazil), Pia Douwes and Doris Baaten (1996, The Netherlands and Belgium), Anneliese van der Pol, at 15 the youngest actress to play the role in a professional production (2000 Buena Park Civic Theatre), and Ann Mandrella (2009-2010 Germany).



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


  • Patti LuPone as Eva (1979-1981)
  • Mandy Patinkin as Che
  • Bob Gunton as Peron
  • Jane Ohringer as Peron's Mistress
  • Mark Syers as Magaldi

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 Elton John as Ché, and was to have been directed by Ken Russell.[39] 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[40]
  • Best New Musical
  • Performance of the Year in a Musical — Elaine Paige
Tony Awards[41]
  • 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[42]
  • 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[43]
  • Best Lyricist

Cultural impact

Evita came in sixth in a BBC Radio 2 listener poll of the UK's "Number One Essential Musicals".[44]

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".


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.[citation needed]

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


  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. ^ a b Citron, p. 230
  8. ^ Citron, p. 226
  9. ^ Japanese version
  10. ^ Czech version
  11. ^ Danish version
  12. ^ Citron, p. 231
  13. ^ Citron, pp. 231-32
  14. ^ The film soundtrack uses both numbers, though the lyrics to "The Lady's Got Potential" were substantially re-written and only one verse from "The Art of the Possible" is used, this time sung by Che.
  15. ^ In the film version, "Another Suitcase in Another Hall" is sung by Eva (after "Buenos Aires"), after realizing that Magaldi is married with a child.
  16. ^ The song "Partido Feminista" follows this in the movie version, depicting another of Eva's speeches.
  17. ^ This song was written for the 1996 film and later added to the stage version.
  18. ^ "Evita Or Madonna: Whom Will History Remember?" Interview with Tomas Eloy Martinez Retrieved June 13, 2006
  19. ^ Anderson, Jon Lee. Che Guevara: A Revolutionary Life. ISBN 0802135587
  20. ^ Navarro, Marysa and Fraser, Nicholas. Evita: The Real Life of Eva Peron
  21. ^ Eva Peron, 1996 Argentinian film biography of Eva Peron
  22. ^ Evita at Prince Edward, retrieved March 17, 2010
  23. ^ Citron, p. 232
  24. ^ Inverne, J. "Jack Tinker: A Life in Review", p. 21, Oberon, 1997
  25. ^ Citron, pp. 232-33
  26. ^ Green, Stanley and Green, Kay. Broadway Musicals, Show By Show. Hal Leonard Corporation, 1996, ISBN 0793577500, p. 254
  27. ^ Harvey, Alec. "This Touring "Evita Boasts Top-Notch Troupe", Birmingham News (Alabama), January 23, 1994, P. 101
  28. ^ "Musical Fans Snap Up Seats For Evita" (Darlington Civic Theatre, May 1996), The Northern Echo, November 30, 1995
  29. ^ Bruce, Keith. "Evita, Playhouse, Edinburgh", The Herald (Glasgow), April 27, 1995, p. 17
  30. ^ Coveney, Michael. "Evita: If you can't wait for the film, a big national tour of classic 1978 Rice/Lloyd Webber musical, led by Marti Webb", The Observer, March 19, 1995, p. 14
  31. ^ Tour, accessed March 6, 2009
  32. ^ a b Evita tour, accessed March 6, 2009
  33. ^ "Cast list, 2006",, retrieved February 24, 2010
  34. ^ "Joseph hangs Dreamcoat at Adelphi in July". Society of London Theatre. 4 April 2007. Retrieved 2 June 2007. 
  35. ^ Jones, Kenneth. "Rainbow Tour: Kathy Voytko Is Evita in New Prince-ly Road Company, Taking Off Nov. 2",, November 2, 2004
  36. ^ 2008 UK tour information from the Really Useful Group website
  37. ^ Riedel, Michael"'Evita to repeat-a" , The New York Post, February 24, 2010
  38. ^ Gans, Andrew. "Is Evita Revival Heading to Broadway?",, February 24, 2010
  39. ^ Greenberg, James (19 November 1989). "Is It Time Now to Cry for ‘Evita’?". The New York Times (The New York Times Company). Retrieved 9 August 2009. 
  40. ^ "Past Olivier Award winners". The Society of London Theatre. Retrieved 18 June 2007. 
  41. ^ "Archive: Evita". Tony Awards Official Website. American Theatre Wing. Retrieved 18 June 2007. 
  42. ^ "1980 Drama Desk Awards". Drama Desk Awards Official Website. Retrieved 18 June 2007. 
  43. ^ "1980 Outer Critics Circle Awards". Outer Critics Circle. Retrieved 18 June 2007. 
  44. ^ "Elaine Paige - Nation's Favourite Musicals". BBC Radio 2. Retrieved 2 June 2007. 

External links


Simple English

Evita is a musical written by Tim Rice and Andrew Lloyd Webber, based on the life of Eva Peron (1919-1952), the wife of Argentine President Juan Peron.

The show was originally written in 1976 when a double album was released featuring Julie Covington, Colm Wilkinson, Paul Jones and Barbara Dickson. In 1978, the original London production was mounted with Elaine Paige as Eva, David Essex as Che and Joss Ackland as Peron.

A film version of the show was made in 1996 starring Madonna in the title role, with Antonio Banderas as Che and Jonathan Pryce as Peron.


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