Valentine's Day Memory: Experiencing "The NEW Evita" Matinee at the Fox Theatre February 14, 1999

The original Broadway production of "Evita" debuted 20 years earlier, directed by the legendary Hal Prince. The musical, with lyrics by Tim Rice and music by Andrew Lloyd Webber, celebrates the life of Argentina's iconic Eva Perón. The first three U.S. touring companies brought this spectacular show to audiences across the country, and in 1999, a new production billed as "The NEW Evita" was making waves.

I told Terry I was heading out to shop for his Valentine's Day gift, but little did he know, I already had a ticket for the matinee show and couldn't get him one. He was supposed to be visiting his mom out of town, but his plans got canceled. After the show, I hopped on the MARTA train to Perimeter Mall to buy Terry some cologne and didn't tell him until many years later that I saw "Evita" that day.

I was super excited to see the show because I had seen Natalie Toro, who played Evita, in "CATS" as Grizabella and absolutely loved her voice. To my surprise, Natalie Toro wasn't scheduled for this performance, but Ana Maria Andricain, the alternate Evita, was amazing. Raymond Jaramillo McLeod somehow made Juan Perón kind of sexy—something I never thought I'd say! The role of Perón's mistress was played by a young lady named Angela Covington, who was only 16 at the time. Her rendition of "Another Suitcase in Another Hall" was the best I've ever heard. The fact that Angela was so young added a sleazy vibe to the role of Juan Perón.

Ana Maria Andricain as Evita

As much as everyone was there to see "EVITA" and whoever was playing the iconic role created by Julie Covington on record, Elaine Paige in London, and Patti LuPone on Broadway, the real star of this production was a relatively unknown actor playing Che named Raúl Esparza. His performance was incredible and truly moved the plot along.

The production was based on the original Hal Prince production as seen on Broadway and the first three U.S. touring companies. It was billed as faithfully directed and choreographed by the original Broadway choreographer, Larry Fuller.

This production of "Evita" opened almost 20 years to the day after its American debut at the Dorothy Chandler Pavilion. This tour was supposed to open on Broadway after the tour ended, but it never made it, and the production was canceled despite the touring production's tickets selling well.

Some reviews mentioned that the production's set seemed dated. However, I loved it because I knew it was the closest to the original Broadway production and the original tours, which I was too young to have seen. It gave me a chance to see what the spectacle might have been like. Perhaps the reviews a bout the set contributed to the fact it didn't make it to Broadway.

The reorchestrated score didn't sound like the original Broadway cast album and sounded a bit more like the original Spanish cast recording, which I've owned since the mid-1990s and have loved. Though the show's ads were built around its star Natalie Toro, Ana Maria Andricain delivered a dynamic, dramatic, and heart-wrenching performance. You completely forgot that she was not the main performer in the role of Evita. If you have read any of my thoughts on seeing "The Phantom of the Opera," you will know that I love to see the understudies and alternates. As much as I would have loved to see Natalie, Ana was an absolute jewel. If it hadn't been the last performance before moving to the next city, I would have bought tickets to see Natalie in the role.

With all the positive things I can say about this production, the only thing that bothered me was the way certain words were pronounced in an attempt to give it a more authentic Latin feel. "Don't Cry For Me Argentina" is such an iconic number, and hearing the word "Argentina" pronounced ahr-hen-TEE-nah was off-putting. Something I found interesting at the show's merchandise stand was that they had typical show merchandise featuring the show logo and programs. However, instead of selling the original Broadway cast recording, they were selling the original concept album from 1976 featuring Julie Covington and Colm Wilkinson. This seemed odd to me since the show had changed quite a bit by the time it made it to the stage in 1978 and most definitely by the time the original Broadway production opened. I'm assuming that choice may have been due to the fact that Lloyd Webber was still feeling the burn from Patti LuPone's settlement after he fired her from Sunset Blvd.

If I could turn back time and take this cast with me, I would have loved to see them alternating alongside the original Broadway cast. After the show ended, I hightailed it to Perimeter Mall on the MARTA train and bought some cologne from a kiosk before heading back home to give it to Terry. As I said, I didn't tell him until years later, and he was still not happy that I saw it without him. His only exposure to "Evita" has been the movie with Madonna, and he's still holding a grudge!

I hope you enjoyed reading about my Valentine's Day memory of seeing "Evita" at the Fox Theatre. Do you have any memorable theatre experiences or personal stories you'd like to share? I'd love to hear about them in the comments. If you enjoyed this post and would like to support my storytelling journey, any small token of appreciation is always welcome. Let's keep the joy of theatre and storytelling alive together!

A Night to Remember: Unexpectedly Experiencing Cats on Broadway for the First Time in 1992

The original Broadway home of CATS

Seeing Cats on Broadway in September 1992 was a magical experience. My friend Tom and I met in front of the Majestic Theatre, hoping to see The Phantom of the Opera. Unfortunately, it was sold out. Though it was in its 4th year, Phantom tickets were a challenge to get, and two seats together were almost impossible. We accepted defeat and decided to try another show. I had suggested Les Misérables, but Tom said it was three hours long and the only special effect was the guns, so he suggested Cats. I had not seen the show yet and had only heard the songs "Memory" and "Mr. Mistoffelees." From the moment we walked into the theatre, I was awestruck. The set was everywhere. Christmas lights strung over the audience made it feel like we had walked onto a movie set. As the lights dimmed and the overture began, you knew you were in for something special when you heard the patter of feet throughout the theatre and saw glowing eyes moving around the aisles. The costumes and sets were impressive. Tom and I were sitting close to the stage, in a row that had enough space for the actors to pass in front of us. The elaborate cat costumes, complete with furry tails and whiskers, transformed the actors into their feline counterparts but definitely not your average kitty cats. As Old Deuteronomy, played by Ken Prymus, slowly passed us, observing everyone around as an old cat would do, Tom and I could feel some of the fibers that made up his costume, which I discovered was made of yak hair. The set, designed to resemble a junkyard, was a playground for the cats, filled with oversized props that created a sense of scale and fantasy. The use of lighting and special effects added an extra layer of magic, making the entire production feel like a dream come to life. I have seen the 4th national touring production a few times and as great as the cast members were, the magic just doesn't transfer to most theatres in spite of the impressive set.

The creative team of CATS

The cast brought their A-game too. Each character was portrayed with such detail, including little tics that cat owners would notice as part of normal behavior for their own feline friends. Jennyanydots, played by Rose McGuire, was hysterical, as was Bradford Minkoff in the role of Rum Tum Tugger. Mister Mistoffelees was performed by an incredibly graceful dancer from Japan named Gen Horiuchi. I was not one to enjoy dancing, especially ballet-like moves, but Mr. Horiuchi was so mesmerizing that he is the reason I began to appreciate different styles of dance. Roger Kachel and the adorable Kristi Lynes brought a lot of comic relief to the show as Mungojerrie and Rumpleteazer. Munkustrap, played by Bryan Batt, was the kitty I would have chosen to adopt and take home. Batt was the sort of leading man whose velvety voice could fit into any leading role. As much as I loved everyone I saw in the cast, there was another who could have just walked on stage, sang her song, and called it a night. Laurie Beechman, who played Grizabella, delivered a truly unforgettable performance. Her rendition of "Memory" was nothing short of haunting, filled with raw emotion that left the audience in awe. Her powerful voice is most likely echoing in the rafters of the Winter Garden Theatre to this day. Laurie Beechman's expressive acting made her a standout among a talented cast. I've seen several ladies perform the role of Grizabella, all very talented, but Laurie Beechman seemed to tap into the character to the point where everyone could sense something was not at all right about that cat. Pain, longing, and loneliness are words that come to mind, but there was more to it. Years later, I read that Laurie had struggled with and battled ovarian cancer for many years and worked throughout her treatment despite her pain. I had the luck of meeting her in 1993 and loved her warm, sweet demeanor. I was 16 or 17 and sort of starstruck, but she was not having it. The moment she grabbed my hand and thanked me for my words about her performance, my nerves were gone. She signed my CD copies of her Listen To My Heart and Time Between the Time albums, both of which I treasure to this day.

Laurie Beechman as Grizabella

The ensemble numbers were packed with energy, showcasing the incredible talent of the dancers and singers. It was clear that every performer was fully committed to their role, creating a vibrant and immersive world on stage. In addition to the infectious music and larger-than-life set, the choreography was another highlight of the show. Gillian Lynne's dance sequences were both intricate and fluid, perfectly capturing the feline grace and agility of the characters. The dancers moved effortlessly across the stage, their movements synchronized with the pulsating rhythm of the music. Each dance number was a visual feast, adding depth and dynamism to the storytelling. By the end of the show, I was in tears—it was beautiful and so immersive. I was there with a man I had crushed on for years, and though my focus would have been on him in any other setting, I basically ignored him for two hours. But the second we exited the Winter Garden, there I was, with Tom and our memories of seeing Cats. After leaving the show, I had to have the cast album and acquired both the London and Broadway recordings. Comparing the live show to the cast recording, there were some noticeable differences in the orchestrations. The live performance had a richer, more immersive sound, with the orchestra bringing a dynamic range that you just can't capture in a recording. The music felt more alive, responding to the energy of the performers and the audience. While the cast recording is a wonderful way to relive the show, nothing compares to the experience of seeing Cats live on stage, where every note, movement, and emotion come together to create an unforgettable theatrical experience.

If you’re interested in the music of Cats, I highly recommend the 1985 Australian Cast Recording. It’s the most extensive of all the English-language cast albums and reflects many of the changes made after the show had been running for a few years in New York. Debra Byrne’s Grizabella is stellar. The Broadway cast album is also great, especially with Betty Buckley's powerful rendition of "Memory," though the show did change slightly after the album was recorded. The London Cast Recording, while nice for a 42-year-old album, feels more like a concept album at this point. However, Elaine Paige's rendition of "Memory" is iconic, and hearing Sarah Brightman as Jemima is kinda awesome. The film soundtrack, much like the film itself, is not recommended.

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Carnival Thrills and Fairground Nostalgia: 1992, the year Reithoffer took over the Pensacola Interstate Fair

Reithoffer's Kroon Dutch Wheel

Back in October 1992, I briefly returned from New York after spending a year hitting up Six Flags Over Georgia, Six Flags Great Adventure, and Coney Island. To be honest, I was a bit jaded and felt like no fair could compare to those experiences, even though I'd always loved fairs. The buzz around the Pensacola Interstate Fair that year was off the charts, especially with WEAR-3 showcasing Reithoffer Shows rolling into town for the first time. The fair was set to run from October 22 through October 31. My parents had split up, so I was staying with my mom, but my dad came in from Mobile, and we met up with my sister and brother-in-law at the fair. Reithoffer was like a carnival on steroids, with rides and attractions straight out of a dream, some even featured in the film "BIG". As soon as we arrived, we were greeted by a sea of bright colors, the irresistible smell of fair food, and the sound of excited screams from the rides. It was sensory overload in the best way possible.

In previous years, Goodings Million Dollar Midways had the contract, claiming 85 rides and attractions, but with Reithoffer, there were over 120. After a closer look, it turned out there were around 45 rides in past years, and with the new contract, there were about 60 rides. The higher numbers included games, food, and other fairgoer interests. The rides are the heart of the fair, with the Kroon Dutch Wheel on one end and the Sky Wheel (aka Double Ferris Wheel) towering over everything on the other end, both offering breathtaking views of the fairgrounds and the city beyond. The lineup was a good mix of kiddie, family, and adrenaline-pumping thrill rides. Reithoffer owned most of the rides but also booked some from other carnival companies. Unlike Goodings' lineup, everything on the midway looked well-kept and clean. An old ride that had never appeared at the fair before, the Bayren Kurve, became one of my favorites that year, unfortunately it never made another appearance. Classics like the Enterprise, Sky Diver, Tilt-a-Whirl, Spider, Zipper, Kamikaze, and a similar ride called the Tomahawk were also present. The Tilt-a-Whirl and Spider were regular fixtures, spinning riders in every direction and leaving them dizzy. I learned my lesson the first time I rode them: never again. The Zipper had been a favorite for many years, and I often rode it alone at Coney Island despite the no single rider rule. This one was much more colorful than the Coney Island version.

For those preferring more leisurely rides, there was a carousel with beautifully painted horses, a smaller ferris wheel called the Aristocrat Wheel, a Round Up, and a couple of Gravitrons. Another new ride to the fair that year was the Huss Rainbow, a regular fixture at the Mobile fair and one of my favorites. It’s very rare in the US now, and despite the movement, it was huge, smooth, and didn’t involve restrictive restraints. Reithoffer seemed genuinely proud of their equipment, with almost all rides featuring signage with stats and insights about their origin. This added a special touch, making typical rides on this midway feel unique. Reithoffer showcased a Himalaya from France, a German-built ride called the Raupen Bahn with a canopy that covered the seats, and another German ride called See Sturm Bahn, which had boat-shaped cars that spun on their own during the ride cycle as well as a decorative water feature in the center. Compared to previous years, Reithoffer offered substance and power, with fewer filler attractions like funhouses, dark rides, and mirror mazes, though they did have a few. Game booths lined the paths, offering chances to win giant stuffed animals or quirky prizes. The 4-H animals were a hit with families, allowing kids to get up close and personal with friendly goats, sheep, and even llamas. I noticed fewer freak shows compared to previous years, but there was still one set up at the corner of the midway. I never really took an interest in freak shows, thinking it was rude to stare at people with defects. The food was impossible to resist, with corn dogs, Polish and Italian sausages, carnival pizza, funnel cakes, giant turkey legs, candy apples, and cotton candy. Reithoffer Shows didn't just bring rides and games; they brought a sense of excitement and wonder, creating an atmosphere that was magical and unforgettable. The debut of Reithoffer Shows at the Pensacola Interstate Fair was a game-changer, setting the bar high for future fairs and leaving everyone eagerly anticipating the next year's extravaganza. For those who were there, it was an unforgettable experience that left cherished memories and a sense of community. Thirty-one years later, they still hold that contract.