UK-based sound designer Mick Potter, who will be speaking at the Broadway Sound Master Classes on Saturday, Saturday, May 19, designed the London and New York revivals of Evita. He found that, in New York, “the physical production is quite similar, but director Michael Grandage didn’t want to come to it as a revival of the 2006 production.” In addition, Potter notes that essentially the two productions are “different sound-wise, party because the technology has changed over the past six years.”
For the New York version, Potter opted for Meyer Sound's M'elodie line array and a DiGiCo SD& digital console. The Broadway revival also differs from the original production in that Andrew Lloyd Webber had done new orchestrations for the London revival. “Michael Grandage always talked about it as if it was a new musical,” asserts Potter. In terms of Elena Roger, he adds, “She sounds pretty much the same as in London. She has an authentic emotional voice,” Potter adds. “For some people, Evita has a history with a certain singer, and it is hard to conceive someone else creating the role.” As Roger only sings six performances a week, Potter had to tweak and rebalance the show with the way the alternate, Christina DeCicco, performs it.
“Ricky Martin was an absolute a joy to work with,” confirms Potter. “There was no attitude, and he has a gorgeous sounding voice. The tone is quite beautiful, while Michael Cerveris has a big Broadway voice. There is a good contrast between the three leads, they compliment each other very nicely.”
Hear more from Potter, and all the designers for Evita, at the Broadway Master Classes, where attendees will also see this production. Click here to register.
Also, check out the May issue of Live Design for additional coverage of Evita.