I Must Love You? I Do Not Think So....
Evita - Hessisches Staatstheater, Wiesbaden, 5th & 19th October 2013
Thomas had already played the part in Lübeck for a few seasons plus understudied it before, I had seen some other productions before, it is not really a personal favourite but I can watch it, most being largely good, so I expected it to be a lovely production - I was so wrong.
Cast:
Eva Milica Jovanovic/Beatrix Reiterer
Che Thomas Christ
Perón Peter Bording
Mistress Sarah Jones/Ágnes Szalai
Magaldi Philippe Ducloux/Christopher Rickerby
Eva's Family Ines Behrendt, Felicitas Geipel, Philipp Georgopoulos, Katrin Gietl, Pierre Humphrey, Petra Urban
Little Evita Jasmin Herrera
Mother Petra Urban
Admiral Marc-Wolfgang Frey/Giorge Martin
Reviews of this production are largely great, how honest they are I do not know, I just learnt again on the day of the premiere that my honest opinion is not welcome (but as I just read in an >>interview with Pia Douwes most performers are not interested in honest opinion on the day of the premiere so in future I will not share it face to face with that one performer. So what is wrong with this production?
Eva Milica Jovanovic/Beatrix Reiterer
Che Thomas Christ
Perón Peter Bording
Mistress Sarah Jones/Ágnes Szalai
Magaldi Philippe Ducloux/Christopher Rickerby
Eva's Family Ines Behrendt, Felicitas Geipel, Philipp Georgopoulos, Katrin Gietl, Pierre Humphrey, Petra Urban
Little Evita Jasmin Herrera
Mother Petra Urban
Admiral Marc-Wolfgang Frey/Giorge Martin
Reviews of this production are largely great, how honest they are I do not know, I just learnt again on the day of the premiere that my honest opinion is not welcome (but as I just read in an >>interview with Pia Douwes most performers are not interested in honest opinion on the day of the premiere so in future I will not share it face to face with that one performer. So what is wrong with this production?
Well, maybe I should ask what is right with this production as it would be quicker to answer that.
For me it starts already with the direction done by Pascale-Sabine Chevroton.
For me directing is to underline the storyline, the book with its lyrics. The one(s) who did that work invested a great share of work into it and what I personally absolutely do not like and do not want to see is a director twisting the story that the original intention, narrative is gone from the show.
She (and her creative team) had this oh so great idea that Che is neither just a Che, so a guy from the people or the Che, a lot of past productions since the Hal Prince's one adapted, no here Che is some kind of Mephisto, some kind of Death figure. Wow.
So far, so good, in general it might sounds reasonable, though the idea has been seen way TOO OFTEN and actually when you clearly listen to the German lyrics which are somehow even more direct in what Che's "job" is in this musical it just simply does not work IMO. When Che sings of being a neutral observer how can he be someone at the same time someone who influences and changes the historical story? Sorry, but this whole concept is just ridiculous.
But then I was not surprised to see such a concept after all musical productions I have seen directed by her were usually rather awkward. A production of Jekyll & Hyde in Lübeck a few years ago was so badly staged with some of the worst lighting ever seen that it made me cringe (besides some questionable casting of the part of Lucy) and a few years before she completely murdered "Kiss Of The Spiderwoman" (with the same woman as the title role who also played Lucy). I had seen the OLC production but what I got to see in Lübeck was an absolute insult to the material.
For me this woman gives too often a damn about the original material. I have no issues with adjusting things as a show e.g. brought to current days when originally set in the 50s or so but to take away the original idea is an absolute no go for me (and I do not care whether Che is the Che or not, as long as he is someone matching what the lyrics and the book say). What theatres see in her (non) directing skills I cannot understand.
She is one of these directors that stand for the (negatively connoted) phenomenon of "Regietheater"which is too often a sign of lack of real creativity and understanding for me.
To put big pictures and scenes on stage is just simply not enough for me, when the creative team forgets or just simply IGNORES what the show's key is.
And yes, there are big pictures, budget certainly blown on e.g. lighting, but too often they are either too overbearing, ridiculous or just simply wrong IMO.
It starts already with the opening scene.
On some kind of white linen clips of Evita are shown with the whole opening announcement of Evita's death being cut.
People come on stage with some carrying a white coffin in which an apparent corpse lies, lilies are being laid on it till the corpse starts to sing "Oh What A Circus" (bad sound quality as it is drowned to to flowers) and jumps out of the coffin - it is Che - WTF?
Then for the first lines Evita sings a girl, around nine years old, appears behind the linens, given the lilies Che had picked up to lay them down eventually at the front of the stage and the grown up Evita standing at the back of the stage on some kind of a gallery looking down on the girl. Okay....
Then the white linen are replaced by some colourful new ones for the Magaldi scene. After these the linens are never seen again. So did they intend to mean? Were they some leftovers from another show? Who knows!
It goes on with "Buenos Aires" and with the extra choir obviously largely unfit the ballet makes an appearance, dressed totally inappropriate in black (dance) clothes, performing some rather un-sync choreography that I seriously wonder again where all the great ballet dancers in the world are - they are clearly not at the German state theatres - or do they usually just give a damn about their other than ballet assignments?
At the end of the number Magaldi is greeted by a little boy and waves goodbye to Evita so that the whole "Good night and thank you Magaldi" to follow is some kind of a joke. The lyrics tell another story....
Now also single doors appear on the stage from the back, first an ordinary brown one through which a man and Evita appear, a next one is a bronze one and a bit bigger, a third one is silver and again a bit bigger and fourth and final one which is gold and the biggest one which all obviously shall tell us about Evita's rise - wow. How clever. Not. And most annoying is that it is Che moving around props to put them in a line so Evita can walk through them at end of scene while he continues singing. Another no-go.
Shall I continue? Be warned it seems it will be a loooooooong post.
More ridiculous staging could be watched when Evita meets Peron for the first time at the charity concert at the Luna Park arena which more seems like taking place on some person's roof garden with people standing on stage, a spiral staircase leading to a higher level on which first Magaldi performs, then Peron and where Evita goes up to to meet Peron. And then "I'd Be Surprisingly Good For You" is being performed with them walking down the stairs being hidden for some seconds - totally annoying - and the mistress actually in that room watching them starting to make out.
More ideas as during "Perón's Latest Flame" as the mistress did not leave the stage immediately but is somehow pulled into the whole number for whatever reason... Jeez.
And that was just act 1 but the break (nearly THIRTY minutes! Considering the short show a bit disproportional, but hey more time to sell drinks).
There was still act 2 to come!
And what a grand opening them making use of the balcony in the dress circle. But before that Che, the little Evita dressed in that famous white dress and two soldiers took place in one of the loges besides the stage.
"Don't Cry For Me Argentina" was then sung from that balcony, first Peron appears, does his lines, then Evita appears dressed in a brown tweed costume and sings that number.
Brilliant idea especially as it being filmed and appearing on the gaze on stage and you sitting in the stalls you did not have to turn around to watch it but having to watch it at the second show (sat in the dress circle on the side for the premiere so I could watch it live) could not feel less distant as it is (besides the fact that it was rather bright occasionally that you could see Evita's facial impression in that number from my seat not properly) .
Little Evita eventually (was) moved to the centre of the stage wobbling around there and watching the scene on the balcony with also people appearing on the stage behind the gaze.
As said it felt so distanced (and when you think of the fact that Evita sings "I kept my promise, don't keep your distance" just another not suitable idea) and I do not want to watch some filming on a gaze just so it may look innovative using the balcony in the theatre - but then I was not surprised about such an idea as it again one showing how the director gives a damn about the audience as already done in past shows and additionally here the staging often taking place on very sides which is brilliant when you have circles in one that go around all the way in the auditorium and someone who paid top price missing scenes because of that staging as I did at that premiere (but as I was told after the show pretty much bad luck, yeah right....)
The weird staging continued immediately for "High Flying Adored" with the gaze staying down, little Evita staying on stage and Che pretty much singing the song to her while Evita and Peron appeared on stage as can be seen on picture being watched by the other two - as if Che shows little Evita somehow her future or her past with the dead Evita being a child again??
I actually still do not know or at least find a for me satisfying explanation what really that little Evita is to represent.
Then for "Rainbow High" a catwalk appears from the back through a red curtain with models on it presenting some outfits and Evita just pretty much giving a coat to put on, so no proper dressing etc. What was though rather ridiculous was the height of that catwalk as Evita had to climb it down at the front a few times and with it being a bit too high.
"Rainbow Tour" also used that catwalk and ridiculousness continued including some stupid small unneeded changes (besides the ongoing weird staging walking over that catwalk from left to right, back to front etc.) as when Evita is in Rome and visits the Pope. In this production Che sings she was given a church medal when the original song clearly says rosary, there are even press clips saying the true Eva Peron was given a gold and black rosary - WHY change that?? There is a massive difference in these two items and when the original lyrics already say rosary... pffft.
"And the Money Kept Rolling In (And Out)" made me nearly falling asleep with its dull choreography - a number I LOVED in e.g. the Lübeck production - and when you see an Evita wallowing in fur coats ripped off the rich people I can just think "oh dear".
Oh dear even more though when some kind of cross formed metal cage appears at the back of the stage looking like the Swiss cross in which money is thrown into and the lights behind turning to red so it really looks like the Swiss flag and eventually this Swiss cross actually rises so it looks like a Christian cross and Evita stands in front of it for "Saint Evita" with Che (now also with some Death/Mephisto make up, actually massively reminding me of what I get to see in the annual summer open air production of "Jedermann" (Everyman) in Hamburg) climbing up stairs behind that cross and watching from upstairs what is happening. Blimey.
"A Waltz for Eva and Che" begins with Che bursting into a laughter as if he had won something, that his plan became true, whatever that was, and starts to sing that number with Evita looking up singing her lines, often using an old fashioned microphone to most probably show that this whole here is her stage till Che climbs down the stairs to then eventually - no not finally dance with Evita as you'd expect from the title of the song - no he catches two long shawls hanging down from Evita's outfits and spins her around as if she is a puppet. Ouch.
Unfortunately this production also has the filler song "You Must Love Me" in it badly translated into German so that Evita actually sings "Never Leave Me". Evita begging that Peron never leaves her? The German translator has not understood that woman...
But the staging got now totally pathetic Some kind of stack was moved in from the left side and it looked a bit like a rasp on which Evita would be laying down. Rasp???
What show does this remind you of, well if you are familiar with German(ic) musicals? Yes, ELISABETH!!
So is the secret of Evita actually that she was the incarnation of the empress Elisabeth? This whole production sooo implies that. Bloody hell, I had never guessed that.
Okay, you might have got the point by now, I just cannot help but be sarcastic about this production.
Besides the so unneeded "You Must Love Me" this production also has the "Montage" and seems the full one. I seriously see absolutely no point in having it in the show (Lübeck e.g. fortunately totally cut it). It actually interrupts the whole flow of the final with Evita first doing her final broadcast and then her dying.
And when you add some basic dancing step combination for the ensemble to perform and a large number seem to be slightly overburdened with that... It just made me cringe that I was just HAPPY when Evita walked into the light at the back of the stage and the show was over...
And judging the applause a lot of people around me thought the same whatever some reviews and fanatics said and say.
With this poor directing there are also massive limitations for the cast to really convince in this production.
As said I saw Thomas Christ before in the part of Che in Lübeck I do not know how often (it ran for several seasons) and I absolutely loved him in that production as his Che was so cynic, so witty, so emotional caring for what is happening/did happen around him adding little bits and pieces, nice touches to make Che, despite "just" the narrator part of the story, even if being here clearly THE Che and not just a Che, feeling as one from the crowd even if not under the spell from Evita and Peron seeing that it is not all glorious and showing some other facets.
But here with that concept he just seemed so out of the place often, the cynicism is pretty much gone sounding shallow and too often his Che is just loud, implausible and not authentic as again lyrics and books too often do not match his actions, as subtle as these are.
The weak link though for me in this production are both ladies as Evita. Beatrix Reiterer does a decent job as much as she can with satisfying singing but she does lack a bit the stage presence I expect from someone playing Evita and some routine when I saw her though with a few more shows that certainly shall improve, but Milica Jovanovic is a total let down for me.
I adore her in general to repeat this, so it is not the general I just do not get her, I have seen her in other shows but the part of Evita is just simply way too big for.
She is a sweet girl playing usually sweet parts but Evita is just simply not sweet.
The person playing Evita needs a fascinating endearing disarming stage presence but for me currently Milica does not have that. Yes she is bubbly and smiley, so her young Evita works to a certain degree then, but for someone who also apparently read Evita biographies, watched speech videos and discussed the part with the director as I read in an interview she just does not show the strength Evita had e.g. in her speeches.
There is a certain power, such a tension, such a depth that caught the ordinary people's attention and caught them under her spell to become their saint and not a Cinderella and fawn-like character.
The same applies for her singing. Yes done technically most probably correct (I have no perfect pitch, I can read musical notes, scores and I love to read them seeing certain twists etc (Patti Lupone once said about Evita "I was screaming my way through a part that could only have been written by a man who hates women" which well describes what you can read in that score) but I cannot tell that that a High C really was a High C or so) even if it in the higher ranges sounds rather shrill due to techniques used for me, who has some rather hypersensitive hearing and who reacts with physical pain when a certain frequency is exceeded, and most swell, but also just too swell that especially in "Don't Cry For Me Argentina" she is just an ordinary singer for me singing that song and not actually Evita singing it to the crowd (I certainly did not see that development, that apparent empathy, etc others saw in her performance).
For me directing is to underline the storyline, the book with its lyrics. The one(s) who did that work invested a great share of work into it and what I personally absolutely do not like and do not want to see is a director twisting the story that the original intention, narrative is gone from the show.
She (and her creative team) had this oh so great idea that Che is neither just a Che, so a guy from the people or the Che, a lot of past productions since the Hal Prince's one adapted, no here Che is some kind of Mephisto, some kind of Death figure. Wow.
So far, so good, in general it might sounds reasonable, though the idea has been seen way TOO OFTEN and actually when you clearly listen to the German lyrics which are somehow even more direct in what Che's "job" is in this musical it just simply does not work IMO. When Che sings of being a neutral observer how can he be someone at the same time someone who influences and changes the historical story? Sorry, but this whole concept is just ridiculous.
But then I was not surprised to see such a concept after all musical productions I have seen directed by her were usually rather awkward. A production of Jekyll & Hyde in Lübeck a few years ago was so badly staged with some of the worst lighting ever seen that it made me cringe (besides some questionable casting of the part of Lucy) and a few years before she completely murdered "Kiss Of The Spiderwoman" (with the same woman as the title role who also played Lucy). I had seen the OLC production but what I got to see in Lübeck was an absolute insult to the material.
For me this woman gives too often a damn about the original material. I have no issues with adjusting things as a show e.g. brought to current days when originally set in the 50s or so but to take away the original idea is an absolute no go for me (and I do not care whether Che is the Che or not, as long as he is someone matching what the lyrics and the book say). What theatres see in her (non) directing skills I cannot understand.
She is one of these directors that stand for the (negatively connoted) phenomenon of "Regietheater"which is too often a sign of lack of real creativity and understanding for me.
 |
| stage before shows starts - the linens the clips appear on |
And yes, there are big pictures, budget certainly blown on e.g. lighting, but too often they are either too overbearing, ridiculous or just simply wrong IMO.
It starts already with the opening scene.
On some kind of white linen clips of Evita are shown with the whole opening announcement of Evita's death being cut.
People come on stage with some carrying a white coffin in which an apparent corpse lies, lilies are being laid on it till the corpse starts to sing "Oh What A Circus" (bad sound quality as it is drowned to to flowers) and jumps out of the coffin - it is Che - WTF?
Then for the first lines Evita sings a girl, around nine years old, appears behind the linens, given the lilies Che had picked up to lay them down eventually at the front of the stage and the grown up Evita standing at the back of the stage on some kind of a gallery looking down on the girl. Okay....
Then the white linen are replaced by some colourful new ones for the Magaldi scene. After these the linens are never seen again. So did they intend to mean? Were they some leftovers from another show? Who knows!It goes on with "Buenos Aires" and with the extra choir obviously largely unfit the ballet makes an appearance, dressed totally inappropriate in black (dance) clothes, performing some rather un-sync choreography that I seriously wonder again where all the great ballet dancers in the world are - they are clearly not at the German state theatres - or do they usually just give a damn about their other than ballet assignments?
At the end of the number Magaldi is greeted by a little boy and waves goodbye to Evita so that the whole "Good night and thank you Magaldi" to follow is some kind of a joke. The lyrics tell another story....Now also single doors appear on the stage from the back, first an ordinary brown one through which a man and Evita appear, a next one is a bronze one and a bit bigger, a third one is silver and again a bit bigger and fourth and final one which is gold and the biggest one which all obviously shall tell us about Evita's rise - wow. How clever. Not. And most annoying is that it is Che moving around props to put them in a line so Evita can walk through them at end of scene while he continues singing. Another no-go.
Shall I continue? Be warned it seems it will be a loooooooong post.
More ideas as during "Perón's Latest Flame" as the mistress did not leave the stage immediately but is somehow pulled into the whole number for whatever reason... Jeez.
And that was just act 1 but the break (nearly THIRTY minutes! Considering the short show a bit disproportional, but hey more time to sell drinks).There was still act 2 to come!
And what a grand opening them making use of the balcony in the dress circle. But before that Che, the little Evita dressed in that famous white dress and two soldiers took place in one of the loges besides the stage.
"Don't Cry For Me Argentina" was then sung from that balcony, first Peron appears, does his lines, then Evita appears dressed in a brown tweed costume and sings that number.
Brilliant idea especially as it being filmed and appearing on the gaze on stage and you sitting in the stalls you did not have to turn around to watch it but having to watch it at the second show (sat in the dress circle on the side for the premiere so I could watch it live) could not feel less distant as it is (besides the fact that it was rather bright occasionally that you could see Evita's facial impression in that number from my seat not properly) .
Little Evita eventually (was) moved to the centre of the stage wobbling around there and watching the scene on the balcony with also people appearing on the stage behind the gaze.
The weird staging continued immediately for "High Flying Adored" with the gaze staying down, little Evita staying on stage and Che pretty much singing the song to her while Evita and Peron appeared on stage as can be seen on picture being watched by the other two - as if Che shows little Evita somehow her future or her past with the dead Evita being a child again??I actually still do not know or at least find a for me satisfying explanation what really that little Evita is to represent.
Then for "Rainbow High" a catwalk appears from the back through a red curtain with models on it presenting some outfits and Evita just pretty much giving a coat to put on, so no proper dressing etc. What was though rather ridiculous was the height of that catwalk as Evita had to climb it down at the front a few times and with it being a bit too high."Rainbow Tour" also used that catwalk and ridiculousness continued including some stupid small unneeded changes (besides the ongoing weird staging walking over that catwalk from left to right, back to front etc.) as when Evita is in Rome and visits the Pope. In this production Che sings she was given a church medal when the original song clearly says rosary, there are even press clips saying the true Eva Peron was given a gold and black rosary - WHY change that?? There is a massive difference in these two items and when the original lyrics already say rosary... pffft.
Oh dear even more though when some kind of cross formed metal cage appears at the back of the stage looking like the Swiss cross in which money is thrown into and the lights behind turning to red so it really looks like the Swiss flag and eventually this Swiss cross actually rises so it looks like a Christian cross and Evita stands in front of it for "Saint Evita" with Che (now also with some Death/Mephisto make up, actually massively reminding me of what I get to see in the annual summer open air production of "Jedermann" (Everyman) in Hamburg) climbing up stairs behind that cross and watching from upstairs what is happening. Blimey.
But the staging got now totally pathetic Some kind of stack was moved in from the left side and it looked a bit like a rasp on which Evita would be laying down. Rasp???
What show does this remind you of, well if you are familiar with German(ic) musicals? Yes, ELISABETH!!
So is the secret of Evita actually that she was the incarnation of the empress Elisabeth? This whole production sooo implies that. Bloody hell, I had never guessed that.
Okay, you might have got the point by now, I just cannot help but be sarcastic about this production.Besides the so unneeded "You Must Love Me" this production also has the "Montage" and seems the full one. I seriously see absolutely no point in having it in the show (Lübeck e.g. fortunately totally cut it). It actually interrupts the whole flow of the final with Evita first doing her final broadcast and then her dying.
And when you add some basic dancing step combination for the ensemble to perform and a large number seem to be slightly overburdened with that... It just made me cringe that I was just HAPPY when Evita walked into the light at the back of the stage and the show was over...
And judging the applause a lot of people around me thought the same whatever some reviews and fanatics said and say.
With this poor directing there are also massive limitations for the cast to really convince in this production.
As said I saw Thomas Christ before in the part of Che in Lübeck I do not know how often (it ran for several seasons) and I absolutely loved him in that production as his Che was so cynic, so witty, so emotional caring for what is happening/did happen around him adding little bits and pieces, nice touches to make Che, despite "just" the narrator part of the story, even if being here clearly THE Che and not just a Che, feeling as one from the crowd even if not under the spell from Evita and Peron seeing that it is not all glorious and showing some other facets.But here with that concept he just seemed so out of the place often, the cynicism is pretty much gone sounding shallow and too often his Che is just loud, implausible and not authentic as again lyrics and books too often do not match his actions, as subtle as these are.
The weak link though for me in this production are both ladies as Evita. Beatrix Reiterer does a decent job as much as she can with satisfying singing but she does lack a bit the stage presence I expect from someone playing Evita and some routine when I saw her though with a few more shows that certainly shall improve, but Milica Jovanovic is a total let down for me.I adore her in general to repeat this, so it is not the general I just do not get her, I have seen her in other shows but the part of Evita is just simply way too big for.
She is a sweet girl playing usually sweet parts but Evita is just simply not sweet.
The person playing Evita needs a fascinating endearing disarming stage presence but for me currently Milica does not have that. Yes she is bubbly and smiley, so her young Evita works to a certain degree then, but for someone who also apparently read Evita biographies, watched speech videos and discussed the part with the director as I read in an interview she just does not show the strength Evita had e.g. in her speeches.
There is a certain power, such a tension, such a depth that caught the ordinary people's attention and caught them under her spell to become their saint and not a Cinderella and fawn-like character.
The same applies for her singing. Yes done technically most probably correct (I have no perfect pitch, I can read musical notes, scores and I love to read them seeing certain twists etc (Patti Lupone once said about Evita "I was screaming my way through a part that could only have been written by a man who hates women" which well describes what you can read in that score) but I cannot tell that that a High C really was a High C or so) even if it in the higher ranges sounds rather shrill due to techniques used for me, who has some rather hypersensitive hearing and who reacts with physical pain when a certain frequency is exceeded, and most swell, but also just too swell that especially in "Don't Cry For Me Argentina" she is just an ordinary singer for me singing that song and not actually Evita singing it to the crowd (I certainly did not see that development, that apparent empathy, etc others saw in her performance).
Peter Bording has a certain resemblance with the actual Juan Peron but stays rather pale and bland and lacks the evasiveness and being enigmatic and charismatic. A bit is due to the book who kinda turns Peron into this weak man whose career relied massively on Evita but reading many articles etc when researching the piece this is simply not true.Jasmin Herrera as the little Evita is lovely. As unneeded as I found the whole idea she has certain girl-y charm and an emotional voice when singing her few lines. Certainly a little talent (and interesting to learn she does all shows not alternating the part unlike what you normally get with kids' parts).
The rest of the ensemble is rather forgettable, even the mistress and Magaldi, whatever alternate is on, and I am seriously wondering more and more these days whether some people are actually DEAF considering the what sometimes was delivered in regards to accentuation, bad accents (this shall not sound racist but the increasing number of non Germans in opera choirs not having a clear pronunciation is just most annoying) that you could not understand a word of what was sung.
What has also made the show worse is the new orchestration. It says in the programme that as part of the latest Broadway production in 2012 that it was changed from a big orchestra to a reduced one sounding less symphonic but apparently more accentuated and sharper plus maybe more artificial - to underline a musical that explicitly imitates various styles.
Well I could not agree less with that. It may say sound more accentuated but not sharper - it sounds simply cheap like a cheap, cheaper, cheapest copy of what it once was and could be when you listen to what is understood as a typical Argentinian sound these days.
One thing why I always liked Evita was not the symphonic sound but still the connection to the actual Argentina and somehow lost that for me.
Saying that the material is played well by the orchestra with a lot of drive and certainly despite me not liking the orchestration the orchestra itself certainly leaves an impression if already not much else. And at least the orchestra sound was fine what I cannot say about the sound of the vocals - regular interruptions of the sound system, so that especially Milica's voice got more than once drowned from the orchestra not having the volume as e.g. Thomas has. Worse though was that the sound technician regularly did not manage to switch off microphones so that e.g. during the son the mistress sings you could hear Milica humming as if doing warm up exercise.So overall the most disappointing production of Evita I have ever seen on pretty much all levels (also e.g. costumes were looking largely cheap) that only people never seen another production can tell this was a good one.
personal curtain call pictures from premiere:
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| It's Robbie WILLIAMS! No, "just" Thomas Christ in a typical Robbie pose. |
