EVITA STARING ALIKI VOUGIOUKLAKI
TSE STARING VLASSIS BONATSOS -ALIKI SUMMER THEATRE 1981-82
Aliki Vougiouklaki (Greek: Αλίκη Βουγιουκλάκη July 20, 1934 - July 23, 1996) was a Greek actress. She is the most popular and successful actresses of Greek cinema and theatre.
She appeared in 42 movies, mostly musicals, and in a wide variety of television programs, theatre and stage productions. In the 1960s she collaborated with Dimitris Papamichail in a number of popular movies. The popular celebrity couple married in the 1960s, but divorced in 1975. She received the prize for lead woman's role at the inaugural Greek Cinema Festival in Thessaloniki in 1960 for her starring role in the movie "Mantalena". Her first film was Nikos Tsiforos' "The little Mouse", followed by scores of other popular dramatic and comic films.
Her father died during World War 2, defending his country against the German invasion, and she has two brothers, film director Takis Vougiouklakis, and architect Antonis Vougiouklakis.
Her first theatre performance as a star, was a George Bernard Shaw play, called Anthony and Cleopatra, but it was a commercial disaster, although a critical victory for the star.
She left Filopoimin Finos for Karagiannis-Karatzopoulos films in the late 60s, she produced 3 films there, all commercial successes (but critical failures). When she returned to Finos Films, the producers increased her salary.
Her salary for each film was 1.000.000 drachmas and share of future profits of her films, when the basic salary in Greece per month was 2.000 to 5.000 drachmas.
She starred in Lysistrata and Antigone in the ancient theatre of Epidaurus, both productions were massive commercial successes, but created great controversies.
The last year of her life she starred in a commercial theatrical hit, named 'The sound of music'
She won the first female performance prize back in the 1960 for the film Madalena (1960), directed by Dinos Dimopoulos, in the first Thessaloniki Film Festival, which now is international.
A doll and a pastry was named after her, and she usually starred in commercials in the beginning and during her career, for beers or car-help companies.
Laurence Olivier called her portrayal of Eva Perón in the Rice-Webber musical Evita, in 1981, as "the best Evita I have ever seen.".
She was planning to stage Sunset Boulevard and play fading star Norma Desmond. It would have been her second portrayal of an aging actress after Alexandra De Lago in Tennessee Williams' Sweet Bird of Youth.
When asked which international actress she admired Aliki described English actress Maggie Smith as "a gifted actress and a rare talent".
Her 1973 movie I Maria tis siopis (1973) (Maria of silence) is in reality a remake of the 1948 Jean Negulesco film Johnny Belinda (1948). The part of Belinda (Maria in the Greek version), the deaf mute rape victim had been played by Jane Wyman.
Her 1969 movie I neraida kai to palikari (1969) (The fairy and the lad) is in reality a comic version of William Shakespeare's Romeo and Juliet.
Her last movie Kataskopos Nelli (1981) was a strange mixture of two of her biggest theatrical hits Cabaret and Evita. Shooting originally begun in 1979 and was to be called The Girl At The Cabaret but due to copyright problems (she was not granted permission to use the original songs of the musical) the movie was shelved. Shooting was resumed in 1980 with a different storyline and new songs and the movie was released in 1981.
Her 1980 movie Poniro thilyko... katergara gynaika! (1980) (A cunning woman) that was to mark her comeback at the silver screen after a seven year absence was based on the W. Somerset Maugham play Theatre, a theatrical hit for her in 1973.
She went through an audition in London in order to get the rights to play the title part in the Rice-Webber musical Evita even though she was the number one box office star in Greece and had acting experience of twenty-five years.
Her 1963 movie, Htypokardia sto thranio (1963), ("Heartbeating in High School") was shot simultaneously in Greek and Turkish, with two different casts, one Greek, one Turkish. The Turkish version was called Siralardaki heyecanlar (1963).
One son, Giannis Papamihail , born 1969.
She was very interested in foreign languages from a young age. She was fluent in English, Italian and French.
Her film I Aliki sto Naftiko (Aliki in the Navy) sold more than 590,000 tickets. In 1962 she wrote the script for Finos Films, Aliki my love, which premiered in London and Athens in 1964, but was a total flop. This was the first and final attempt to become an international movie star.
She was popularly known in press as the "National star of Greece" - the term first used by journalist Eleni Vlahou. In 1970 came her biggest success with the film Ipolochagos Natassa, about a young Greek woman who lost her husband during the Second World War. The film sold more than 752,000 tickets
Chtipokardia sto thranio (1963) was shot simultaneously in Greek and Turkish, with two different crews. Aliki starred in both versions, with her voice being dubbed in the Turkish version, Siralardaki heyecanlar.
The film, Ipolochagos Natassa (1970) sold 752,000 tickets in Athens, which made it the most successful film in Greece, a record held for almost three decades.
Laurence Olivier stated about her portrayal of Eva Perón in the Rice-Webber musical Evita (1981): "the best Evita I have seen".
She worked with writer Willy Russell when she performed in Shirley Valentine onstage in 1989.
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 Argentine president Juan Perón. The story follows Evita's early life, rise to power, charity work, 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 starred Madonna and Antonio Banderas. In 2006, the musical was revived in London, and on Broadway in 2012. Evita has had numerous professional tours and worldwide productions, and numerous cast albums have been recorded.
In 1972, Robert Stigwood proposed that Andrew Lloyd Webber and Tim Rice develop a new musical version of Peter Pan, but they abandoned the project.
The source material for the musical that intrigued Rice about Eva Peron was a brief radio play he had heard while driving his car, but more importantly, the TV film Queen of Hearts by Argentine film director Carlos Pasini Hansen which Thames Television produced and had aired in the UK on October 24, 1972.
Tim Rice had missed that showing but an executive of CIC (Cinema International Corporation) in London who was a mutual friend of Rice and Pasini introduced them and Pasini arranged for Tim to see the film at Thames Television which he did "at least twenty times" saying also that "by that time I had seen Pasini's superbly researched film, I was hooked." Rice then heard a radio play about Eva Duarte de Perón and approached Lloyd Webber with an idea for a musical collaboration based on her life. The more Rice investigated Eva Perón, going so far as to travel to Buenos Aires to research her life, with many documents and contacts that Pasini had supplied, the more fascinated he became by the woman; he even named his first daughter after her. The idea of writing a score including tangos, paso dobles, and similar Latin flavours intrigued Lloyd Webber, but he ultimately rejected the idea. Lloyd Webber decided instead to collaborate with Alan Ayckbourn on Jeeves, a traditional Rodgers and Hart-style musical based on the P.G. Wodehouse character, which proved to be a critical and commercial failure.
Lloyd Webber returned to Rice, and they began developing Rice's proposed musical. The authors of the 1996 book Evita: The Real Life of Eva Perón claim that the musical was based on Mary Main's biography The Woman with the Whip, which was extremely critical of Eva Perón.
Though Rice praised the Main biography, it was never officially credited as source material. Rice suggested that they create a character known as Che to serve as a narrator and Greek chorus. 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 Che use Guevara as a role model. In the 1996 film adaptation, the character returned to his more anonymous roots. This was also the case for the 2006 London revival.
As they previously had done with Superstar, the songwriting team decided to record Evita as an album musical and selected actress and singer Julie Covington to sing the title role. Released in 1976, the two-disc set included Paul Jones as Juan Perón, Colm Wilkinson as Che, Barbara Dickson as Perón's mistress, and Tony Christie as Agustín Magaldi. When the project began to take shape, Pasini wrote the dialogue in Spanish of the first scene of the musical "A Cinema in Buenos Aires" for the first recording of the album in which Julie Covington plays Eva. In this recording Pasini plays the part of the actor in the soundtrack of the "1952 movie that grinds to a halt" and also reads the official communique of Eva's death. In the brochure that accompanied the album that dialogue appears translated into English and the first "thanks" are to Carlos Pasini when the recording was first presented to the press in Andrew Lloyd Webber's country home. The visual presentation was organized by Pasini and his colleague Anton Furst using all the photographic material provided by Pasini.
Lloyd Webber and conductor Anthony Bowles presented the musical at the second Sydmonton Festival before making the recording with the London Philharmonic Orchestra. Prior to its release, they played it for Harold Prince and invited 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 Britain, Australia, South Africa, South America, and various parts of Europe, sales of the 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") was released in October 1976. It reached #1 on the UK Singles Chart 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". In December 1976 Rice wrote to Pasini, then in Rome, telling him of the good reaction of the English public to the album ("already sold 10.000 copies") and saying that he "promised not to accept any film offers without letting you (Pasini) know".
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. The 1976 album and the stage version featured different versions of the dialogue between Eva and Perón during "Dice Are Rolling." The earlier version concluded with "Eva's Sonnet", during which she reaffirms her vice-presidential aspirations. The stage version of "Dice are Rolling" concluded on a shorter version of the sonnet as Eva collapses due to her worsening illness. Additional lyrics were written for the stage version of "Oh, What a Circus".
Lloyd Webber and Rice approached Prince again, and he told 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 Che's rock number "The Lady's Got Potential". 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. Inspired by the murals of Diego Rivera, Prince suggested the proscenium be flanked by artwork depicting the struggles of the Argentine peasants. He jettisoned the original monochromatic costumes designed for the chorus members and dancers; instead, he had them go to charity and secondhand clothing shops to purchase costumes.
Evita opened in London's West End on 21 June 1978, and on Broadway the following year. The revival opened on March 12, 2012 at The Marquis Theatre in New York