MADONNA AND ‘EVITA’

Like Christopher Joyce (Letters, Oct. 6), I too was slightly bewildered by Madonna’s view of Eva Peron as given to David Gritten in your issue of Sept. 29.

Apart from the fact that she seems to think Andrew Lloyd Webber alone was responsible for the story line (the plus for me there is that he gets called the male chauvinist), I find her comment that the musical was “unfair” to Evita surprising. When the record and show first appeared in America, Andrew and I were almost universally attacked for being too kind to the former Argentine icon. From the first day of writing we attempted to give the work balance, and its continued appeal in many forms since 1976 is, I believe, in part a result of our objectivity--as Mr. Joyce so astutely puts it, “the half-saint, half-whore duality gives the piece dramatic thrust.” It is not “one-sided against Evita” (Ms. M again), nor is it one-sided pro-her.

Like Bob Dole and Mr. Joyce, I have not seen the film and my comments may be premature, but I cannot believe that the brilliant Alan Parker has not retained the negative elements of Eva’s story and character that make them so intriguing. I was strongly in favor of Madonna playing the title role from way back, and the word I have heard from those who are closely involved with the picture indicates that she has totally justified my confidence. So while I echo Mr. Joyce’s reaction, I hope and believe his fears will be allayed once we all see the finished product.

TIM RICE

New York

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As former citizens of Argentina during the Peron regime, we applaud Madonna’s efforts to research her character. Unfortunately, she is unjustifiably penalized by your letter writers for trying to correct inaccuracies created by Webber and Rice for the sake of theatrics.

Argentines certainly do not want America’s tears, but they do want their heroes treated fairly.

MIGUEL A. de VIRGILIO

CHRISTIAN M. de VIRGILIO

San Pedro