The Venue: Marquis Theatre Returns 'Evita' to Broadway

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The new marquee for the Marquis Theatre along 46th Street which lead
to the street level box office and escalators to the auditorium on the
third floor.

The original marquee which remains along Broadway.
(above photos: TheHopefulTraveler)

The Marquis Theatre is the youngest of the official Broadway theatres having one the best locations in the theatre district with one of the most comfortable auditoriums. Opened in 1986 as part of the massive Marriott Marquis hotel, the theatre was included in the hotel design as a concession for the destruction of five theatres that occupied the site: the original Helen Hayes, Morosco, Bijou, Astor and the Gaiety.

The theatre boasts some of the most state-of-the-art backstage facilities and the simple and sleek auditorium holds seats for over 1,600 patrons on two levels. The venue is home to mainly big budget musicals.
Despite being located on Broadway, the theatre’s marquee along Times Square is dwarfed by the billboards above it. Formerly the box office and theatre entrance faced Broadway and were designed in such an unremarkable way that patrons could not find either or walked by them.
A new box office and grander marquee was constructed along the 46th Street side of the Marriott Marquis hotel a couple of years ago. At this a point at pedestrian breezeway runs under the hotel and connects to 45th Street. This breezeway now serves as the main entryway from street level to the theatre which is on the hotel’s third level and accessed by two sets of escalators in the ground floor lobby.
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Productions at the Marquis uses the pedestrian breezeway for advertising.
The breezeway runs beneath the Marriott Marquis and connects
45th and 46th Streets mid-block.

The entrance to the Marquis on the Mariott Marquis hotel's third level.
(above photos: TheHopefulTraveler)

Though glass walls outline the true lobby of the Marquis, the entire floor space on the hotel’s third level feels like an extension of the lobby and provides one of the largest spaces for a theatre crowd to congregate before show or at intermission without having to leave the building. Within this lobby, patrons can witness 12 glass elevators as they rise through the hotel’s 45-story atrium. Across from the theatre entrance at opposite corners are the restrooms on two levels.

The lobby itself boasts two grand circular stairways and matching curving accessible walkways that bookend a central wide stairway where at bottom is the theatre bar flanked by the two entrances into the auditorium giving the feel of a cruise ship atrium. Above the bar are posters of some of the productions to have played the venue.
The seating layout on both levels is comprised of a center, left and right section accessed by two center aisles and two side aisles. Avoid seats at the extreme sides which can have limited viewing of the stage. Click HERE for seating chart.
The Marquis is currently home to the first revival of Andrew Lloyd Webber’s ‘Evita’ (2012) on Broadway. Previous products include the ‘9 To 5’ (2009) musical stage adaptation of the hit Dolly Parton film; ‘The Drowsy Chaperone’ (2006); Lloyd Webber’s ‘The Woman in White’ (2005); revival of ‘Annie Get You Gun’ (1999) starring Bernadette Peter; ‘Victor/Victoria’ (1995) starring Julie Andrews; and revival of ‘Damn Yankees’ (1994). The longest running tenant is ‘Me and My Girl’ (1986) which was the first show to open at the Marquis. That production opened on August 1986 and closed in December 1989 for a run of 1,420 performances.

In contrast the Marquis has also been home to some notable bombs in Broadway history: 'Nick & Nora' (1991) a musical based on "The Thin Man" characters which lasted for nine performances; 'Shogun, The Musical' (1990) based on James Clavell's sprawling novel closed after 72 performances; and Paul Simon's first foray in scoring a musical called 'The Capeman' (1998) which starred Marc Anthony that played only 68 performances.

One of two circular stairways leading to the mezzanine level.

A wide central staircase fronts the theatre bar above which is a display
of productions to have played the Marquis.

One of two sets of doors into the orchestra level of the auditorium.

One of the curving stairways viewed from the mezzanine lobby.

The theatre rests on the Marriott Marquis hotel's third level. From
this view is scene the two theatre's orchestra and mezzanine entrance/exit.

The sprawling third level serves as an extension of the Marquis theatre
lobby providing extra space to lounge before show or at intermission
without having to step outside. At right is the elevator core where twelve
glass elevators whisk hotel guests through the 45-story atrium.

Two sets of escalators whisk patrons from the hotel's ground lobby to
the theatre level.

In fron are the escalators accessed that lead to the theatre level.
Behind the wall of advertising is the current theatre box office.
(above photos: TheHopefulTraveler)

The Marquis Theatre stage and the 'Evita' set during a lighting master
class conducted at the venue.
(photo: Live Design)

The interior of the Marquis box office.
(photo: JRM Construction Management)

Marquis Theatre auditorium.
(photo: BroadwayWorld)

Stage Door at 'Evita' at the Marquis Theatre: The Box Office Draw of Ricky Martin on Broadway

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Ricky Martin's image and name has been prominent in the advertising such
as on this billboard in Times Square.

The crowds waiting at the Marquis stage door on 45th Street.
(above photos: TheHopefulTraveler)

Never underestimate star power on Broadway. The major chunk of the huge crowd pictured is to catch a glimpse of performer Ricky Martin waiting for the moment when he exits the stage door at the Marquis Theatre. He starring as Che in the revival of Andrew Lloyd Webber's musical 'Evita.'

Despite only one prior Broadway credit as one of the many actors to play Marius in the musical 'Les Miserables,' Martin's cache as an above the title star in a New York production was untested. Martin has a multi-platinum singing career and was a member of boy band Menudo but who knew that he could command crowds like this on Broadway.

Martin's name has been filling seats that the show has topped over a million dollars per week at the box office despite the less than positive reviews for the show. Many are predicting that when Martin takes a vacation from the show next week that box office will reveal his true box office draw. Martin is currently on contract to star in the show until the end of the year.

Ricky Martin greeting fans at the Marquis Theatre stage door
where he is starring as Che in 'Evita'
(photo: Chris Hardie)

'Evita' has broken the weekly-box office record at the Marquis (for an eight performance week) seven times peaking at $1,586,902 during the week ending May 20, 2012 out of a potential box office of $1,666,936. Since opening the show has been among the top five grossing shows on Broadway each week joining the ranks of 'Wicked,' 'The Lion King' and 'The Book of Mormon'. Of course part of the gross must be attributed to the curiosity of seeing 'Evita' revived for the first time since the original New York production that opened in 1979 and continued for nearly four years and made Patti Lupone a Broadway star.

Though star Elena Roger has already preserved her role on on the highlights London Cast Recording, the star and draw of the Broadway production is Martin commanding that a complete 2-CD recording of the show be made which is released this week.

The nightly crowds are bleeding onto 45th street near the Marquis Theatre stage door blocking traffic and the sidewalk on both sides of the street. I had no plans after the show and I usually see what kind of crowd is greeting the stars of a Broadway show. This one has to be one of the largest I have ever seen even attracting spectators who did not see the show this evening as evidenced by pedestrians passing by who were curious what the crowd was for and after finding out it was for Martin decided to become part of the masses.

Alas most of the crowd could only get a glimpse or a snapshot of Martin. After exiting the stage door, he signed a few playbills and darted for his limo. The crowds thinned quite a bit after this even though the actress playing Eva Peron had not yet stepped out of the stage door. See the next post for my review of the tonight's show.

Martin's limo awaits while barricades corrals the crowds.
(photo: TheHopefulTraveler)

Review: 'Evita' Returns To Broadway at the Marquis Theatre

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Ricky Martin (front) with Michael Ceveris and Elena Roger (on the
balcony) star in 'Evita'.
(production photos except where noted: Richard T. Ermine)

One of the most anticipated productions of the season, ‘Evita’ represents the first Broadway revival of Andrew Lloyd Webber and Tim Rice’s musical about Eva Peron since its New York premiere over 30 years ago that made stage stars of Patti Lupone and Mandy Patinkin. The show also represents the debut of singer Ricky Martin as a leading player and name-above-the-title star.

The musical chronicles Eva Peron’s life from the Argentine slums to the presidential palace as the country’s first lady. She knew what she wanted and used her smarts, charisma and many men at her will to achieve the adoration and lavish style for which she yearned. As wife of president and military leader Juan Peron, Eva cemented her role as one of the most popular and powerful women in Latin America. The character Che is shown in various roles participating or observing moments of her life.

The revival is reputed to be an authentic Latin production with Martin in the role of Che, the show’s narrator, and Argentine actress Elena Roger who is reprising the role of Eva Peron after much acclaim in the 2006 London revival. Sad to say the actress has not traveled well across the Atlantic (or to twist a line from the musical should it be said “that the actress has not learned the lines the way we like them sung”). Her accent was a given but numerous off-key notes at tonight’s performance had many in the audience shaking their heads. I saw Roger perform the role twice in London and she absolutely sounded far better there than she did in this evening’s show.
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Elena Roger

Michael Cerveris and Elena Roger

But what remains is an actress who is braving the criticism for six shows a week (as had been accustomed for the part, an alternate plays the role twice a week) as if she is just fulfilling a contract, careless of what others think and overshadowed by her male co-stars. The latter statement can be taken literally as her tiny figure is threatened to be swallowed up by the majestic sets by Christopher Oram.

It should be said that Roger is a great dancer as evidenced in “Buenos Aires” where she powerfully leads the ensemble in Eva’s introduction to the Argentine capital. But could it be her voice has fared for the worse over the years? In the more plaintive numbers such as ‘High Flying, Adored,’ ‘I Would Be Surprising Good For You’ and the anthem ‘Don’t Cry For Me Argentina,’ Roger’s voice recalls notes that soared when she played the role in London. Even Lupone had a tough time at making “A New Argentina” sound beautiful on the American Premiere Cast recording but Roger’s vocals suffers a similar fate becoming loud and tinny in the number making her sound like a cousin of Minnie Mouse.

Ricky Martin’s only prior Broadway credit was one of the many actors to play the supporting role of Marius during the 16-year New York run of ‘Les Miserables.’ There is no denying that Martin is a charming presence on stage. Unfortunately Martin fails to seize the role as a commentator and critic of the Perons and becomes merely a happy bystander.

Martin flashes smiles and grins whenever possible with nary a hair on his head out of place wearing a costume that fits his handsome build to a tee. But the biggest disappointment is the fire that Martin has displays in his recordings (e.g. “La Copa de la Vida”) does not materialize here. Instead it appears he is intent on enunciating the lyrics as best as possible to the point that any trace of his Spanish accent is pushed aside. But frankly Martin looks so good on stage that one just yearns for him to push his limits so that he can fully embody the role.
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Elena Roger and the company of 'Evita'.

Max Von Essen and Elen Roger.

A hint of anger in “And the Money Kept Rolling” and aversion in “Oh What A Circus” could have sparked some fireworks that is brewing just beneath Martin’s performance. Martin and Roger probably fare best in the “Waltz for Eva and Che.” Something is there that buoys the downbeat latter half of the second act.

A large blame for the lackluster performances goes to director Michael Grandage who spectacularly directed the show’s London revival in 2006 and repeats the duties on Broadway. It’s as if somewhere during the New York rehearsal process, he lost control of his two leads. Roger and Martin needed a firm directorial hand to mold their performances.

What is a shame is the critical drubbing of the stars has reignited the criticism of the through-sung score. Lloyd Webber and Rice were in their early thirties when the show premiered in London. They took a subject that few would guess to be material for a musical. Lloyd Webber infused Latin touches in a score that was tuneful, memorable and accessible. The lyrics by Rice were quite often creative with unique rhymes (e.g. paring “Lauren Bacall me” with “Christian Dior Me”) and wrote the musical’s book that highlights the life of Argentina’s beloved first lady.

At that point in the team’s career ‘Evita’ is quite an accomplishment. Their only prior Broadway credit at the time was ‘Jesus Christ Superstar’. Though they had already composed ‘Joseph and the Amazing Technicolor Dreamcoat,’ that show would not arrive on the main stem debut until a couple of years after ‘Evita’.
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Elena Roger and Michael Cerveris.

Ricky Martin and Elena Roger.
(photo: Sara Krulwich/The New York Times)

Lloyd Webber and David Cullen rethought the original orchestrations for London producing a richer sound to the show. However a heavy hand in the musical direction at tonight’s show reduced some of the numbers to a lugubrious meter most obvious in the songs performed by Martin. It’s a wonder if this was a choice to accommodate the actor.

The rumor in the auditorium before tonight’s show is Michael Ceveris who stars as Juan Peron was severely delayed for a flight back to New York. Alas he didn’t make it and his understudy (Bradley Dean) played the role if ably though not remarkably. But something has to be said about the professionalism of the company in performing the through-sung score. During the ‘Rainbow Tour’ number Dean missed a lyric. The conductor repeated the musical cue, Martin picked up on the direction and repeated his last bit of sung lines and Dean was able to deliver the missed lines.

Also missing tonight is Max Von Essen as Magaldi. The talk is he is preparing to take over the role of Che for Martin’s planned vacation next week. Matt Wall does what he can do with the small role.

What is Roger’s poor reception this evening to her erratic vocals is Rachel Potter’s triumph as Peron’s mistress. Her dulcet tones in singing “Another Suitcase In Another Hall” is a welcome relief of pure and simple vocals. It’s a wonderful moment in the show.
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Elena Roger (center) and the company of 'Evita'.

Elena Roger and Ricky Martin

What is there to absolutely enjoy about the production? Start with the fantastic ensemble that embodies the people of Argentina and take the challenge of fulfilling Rob Ashford’s thrilling choreography. Even Peron and the Argentine military officers get a workout as they fight for leadership in take on the tango.

Oram repeats design duties and creates a set that matches its operatic subject. Three grand buildings surround the central stage. They move in and out or become shrouded to become the stately interior of the presidential palace. The structures are revealed when Eva arrives in Buenos Aires to opening chords that is some of Lloyd Webber’s most exciting music capturing the vibrancy of the metropolis. This main set offers a sense of depth beyond these main buildings to not only see palm trees in the distance but other structures beyond. The designs for the rundown club in one of the first scenes gives a feel of a rundown rural Argentina town.

The subdued palate of the set is matched by the similar hues in costumes that rely on Neil Austin’s lighting work to highlight the designs. Even Eva’s array of fashionable looks keeps within these color tones. Her striking iconic ball gown for the balcony on the Casa Rosada just has a touch of sparkle through crystal beads.
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Ricky Martin (standing, center) with
Elena Roger and Michael Cerveris (seated).

Michael Cerveris (center)

Some of Grandage’s work still impresses here as it did in London. Capturing the epic scope of the play especially in Evita’s “Rainbow Tour” of Europe, he shows what can be done to capture a quickly changing local of each city aided by luggage props and massive banners of the various countries flags as they unfurl with a thunder combined with the uncluttered musical staging by Ashford.

Without seeing Ceveris and Von Essen in the proper roles, it would be hard to comment on the production as it was meant to be seen on opening night. With the shortcomings of Roger, Martin and Grandage I can’t help to wish what might have been. It’s one my favorite musicals by the author and I would be hard pressed to not recommend certain elements if not the whole show. Knowing an ‘Evita’ on this scale is unlikely to come by again any time soon, I am returning to see the show again. Perhaps I am on a fool’s errand in search of a thoroughly spectacular production of the show I long to see.

THE DETAILS

• Website: evitaonbroadway.com
• Where: Marquis Theatre
• Location: 1535 Broadway (inside the Marriott Marquis Hotel), New York
• When: Mon, Wed-Sat 8pm; Tue 7pm; Wed & Sat 2pm
• Running Time: 2 hrs 15 min
• Ticket Prices: $67-$142 (premium $227-$277)
• Opening: Apr 5, 2012 (previews from Mar 12, 2012)
• Closing: Open Ended
• Book Online: ticketmaster.com
• Ticket Services: 1-800-745-3000
• Cast Recording: New Broadway Cast Recording

Elena Roger and Ricky Martin

Michael Cerveris

The Venue: The Lunt-Fontanne Theatre Haunted By 'Ghost The Musical'

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The Lunt-Fontanne Theatre on 46th Street between Broadway and 8th Avenues.

The same shot of the theatre but at night.
(above photos: TheHopefulTraveler)

The Lunt-Fontanne Theatre opened on Broadway in 1910 as the Globe Theatre. The theatre had a retractable roof to enable the theatre to stay cool and open during the summer. In 1932 the venue was turned into a movie theater until 1958 when it was gutted and rebuilt in its present configuration as a Broadway theatre.

The theatre was renamed in honor of America's foremost husband/wife acting couple, Alfred Lunt and Lynn Fontanne, who starred in tis first production, 'The Visit.' Patrons to the theatre can enjoy photographs from their collection throughout the various lobby spaces.

Seating for 1,505 patrons is on two levels. Two staircases, one accessed from the box office lobby and a second accessed from the orchestra level lobby lead to the beautiful mezzanine bar and seating. Because of the box office access, the mezzanine bar opens one hour before the performance.

Click HERE to view the Lunt-Fontanne seating chart. The theatre is one of eight Broadway theatres operated by the Nederlander Organization. All online ticketing is handled by Ticketmaster.

The Lunt-Fontanne is currently home to 'Ghost The Musical' based on the 1990 feature film starring Patrick Swayze, Demi Moore and Whoopi Goldberg. Previous tenants include 'The Addams Family' (2010) and two Disney musicals 'The Little Mermaid' (2008) and 'Beauty and the Beast' which moved to the Lunt-Fontanne in 1999 (it originally opened at the Palace Theatre in 1994). 'Beauty' is the show to have played the theatre the longest staying in residence for eight years. 'Titanic' an original musical based around the sinking of the ocean liner opened at the venue in 1997 and won the Tony Award for best musical.

The original Broadway production of 'The Sound of Music' (1959) played the Lunt-Fontanne for three years before moving to the Mark Hellinger Theatre a few blocks north. The hit musical played over 1,443 performances between the two theatres.

The orchestra seats beneath the mezzanine.

The chandeliers of the beautiful mezzanine bar.

Murals greets guest on the mezzanine level.

Tonight's audience entering the theatre to see a performance of
'Ghost The Musical'.

The current tenant at the Lunt-Fontanne Theatre. 'Ghost The Musical' opened
on April 23, 2012.
(above photos: TheHopefulTraveler)

Video: 'Ghost The Musical' on Broadway

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Below are  videos promoting 'Ghost The Musical' now playing on Broadway at the Lunt-Fontanne Theatre. The musical is based on the popular 1990 movie starring Patrick Swayze, Demi Moore and Whoopi Goldberg. Stage actors Richard Fleeshman, Caissie Levy and Da'Vine Joy Randolph assume the roles for the musical.

Click HERE to view the Ghost on Broadway YouTube videos.

Actor Richard Fleeshman tours the Lunt-Fontanne Theatre (9:38 minutes)


Broadway Trailer (clips are of the Original London Cast) 2:02 minutes


2012 Tony Awards Performance (2:22 minutes)

Disney Live! Mickey's Music Festival in Rockford, IL - discount code

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O'Reilly Auto Parts NHRA Nationals-Sunday's performance in Concord, NC - discount code

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