Word: evita
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Dates: during 1980-1989
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...Freedom Riders. But whose truth is it anyway? Every film -- or every biography or news report or memory -- is distorted, if only by one's perceptions. To create art is to pour fact into form; and sometimes the form shapes the facts. William Randolph Hearst never said "Rosebud," and Evita Peron didn't sing pop, and Richard III was probably a swell guy, no matter how Shakespeare libeled him. This is what artists do: shape ideas and grudges and emotions into words and sounds and pictures. They see "historical accuracy" as a creature of ideological fashion. Artists take the long...
...filled lament while dying of cancer, Sloan dominates the stage. When she finishes the show's signature song, "Don't Cry for Me Argentina," the whole audience cheers along with the descamisados. In previous musicals, Sloan has been stuck with absolutely awful scripts and worse supporting casts, but in Evita she at last has the chance to shine...
...first full-fledged student musical to play on the Mainstage in more than four years, Evita attracted a supporting casts, that any Harvard musical would envy. Every large number gets added energy and fire from the chorus' dynamic singing and dancing...
...Guevara, the South American revolutionary who narrates the show, but he's a little short on the cynicism his role requires. It's hard to sing and be sarcastic at the same time, and Talenti has clearly opted for the former. Talenti has a good voice, but Evita asks more of him than vocal skills, and he falls short of the play's demands...
...this caliber, with the kind of money Mainstage shows get, it is inexcusable to have feedback obscuring the performers' voices. In addition, the accompanying rock band overpowers the singers voices. Even by the third performance these problems still hadn't been worked out. But sound problems aside, this Evita is, as Eva describes Buenos Aires, "certain to impress...