Patti LuPone Electrifies At The Grammys [VIDEO]

Entertainment Weekly reports:

The Grammys got its own dose of musical theater last night. Tony Award-winners and Broadway stars Patti LuPone and Ben Platt took to the Madison Square Garden stage at the 2018 Grammy Awards Sunday evening to perform a tribute to composers Andrew Lloyd Webber and Leonard Bernstein.

Platt, 24, took up the Bernstein portion of the tribute, singing “Somewhere” from West Side Story before LuPone, 68, brought down the house reprising her iconic Tony-winning role of Evita, singing “Don’t Cry for Me Argentina,” a number she previously performed on the 1981 Grammys.

  • Frostbite

    Who? What?

    • Joe in PA

      You just HAD to start, didn’t you? 😘

    • TuuxKabin

      How the Hell?

    • Acronym Jim

      When, where, why and how. I had no idea Patti Lupone sang that old Schoolhouse Rock song.

      Huh, ya learn somethin’ new everyday.

    • CanuckDon

      Who’s this old person singing a Madonna tune?

      • Miji

        In all fairness Patti’s only 9 years older.

        • CanuckDon

          I know…lol…I was going to add that.

  • Achilles Tsakiridis

    Patti — you either get it or ya dont — and she nailed it and she was flawless .

    Platt — It was perfect . Simply perfect .

    • #DJTK5F

      You mean “Either you buy it or you don’t.” She’s yesterday’s B’way hash.

      • Guido Miller

        Ms. LuPone just closed another Broadway Show in November. Nothing yesterday about her.

  • CanuckDon

    And that, kids who are watching the Grammys, is the beauty and sincerity of the human voice without autotune.

    • #DJTK5F

      Without any tuning whatsoever.

    • Boy Elvis

      I bet the vast majority of them either tuned it out as they sat there texting or just changed the channel. Broadway has a very specific audience and it never plays well outside of that demographic.

  • Leo

    Lots of controversy last night per usual. They should’ve cut Ben Platt and/or Patti for Lorde, who was the only nominee that didn’t get to perform their own material but was nominated for AOTY. I’m a fan of Broadway but it was a shoehorned segment and a clear giveaway to the NYC tourism board for the ceremony re-location. Numerous music journalists have pointed that out.

    Ed Sheeran won a category he didn’t even show up for because of his petulance for not being nominated for another and the shock was palpable for the other woman nominated.

    Chester nor Dolores got their own tribute segments which was a sham and I’m not surprised a growing number of performers including Drake and Frank Ocean won’t likely be submitting their works for noms nor attending ever again.

    The Grammys have people of bunch of stubborn baby boomers that music-following millennials and Gen Zers moved on from over a decade ago. Good riddance.

    • HeyYouKidsGetOffMyLawn

      Ed Sheeran winning for his mediocrity is a shambles, but the Grammys more often than not recognizes sales, not artistry.

  • Cuberly Deux

    Uba-da-bub-a-dabu-aduh….

    https://youtu.be/V-ask1ZAwL0

  • netxtown

    I know she did a great rendition…..and gawd i know i’m gonna get slapped around for this one….but i still much prefer Madonna’s take on it.

    • BJORN RAGNVALDR

      *Palm out and up….tapping foot furiously* while awaiting the return of your card….
      🙂

    • erstegeiger

      Can I make a guess you heard the Madonna version first?

      Human brains bond with the original (or first one the hear) versions more often.

      I could be wrong………….

      • jerry

        Years ago, I hated the original British version, because I’d seen the Broadway version and had the CDs with Patti LuPone.

        • Billy Green

          Which British original? Elaine Paige (London cast recording) or Julie Covington (concept album)?

          • jerry

            I think it must have been the Julie Covington recording…don’t think it was Elaine Paige. And it wasn’t necessarily the vocalist, the arrangements were slightly different, different phrasing.

          • Billy Green

            I heard Elaine Paige first. When I was a senior in high school at the tender age of 17, our high school group saw Evita in London (before it opened on Broadway) — the first professional theater production I’d ever seen. I went to Harrod’s the next day and bought the cast recording (highlights only — no full recording was ever made). When I got home again, I bought the concept album in order to hear the rest of it (which has some significant differences from the final version that opened on Broadway, as mentioned above, such as Che’s discourse on insecticide).

          • jerry

            I love Elaine Paige…I have the DVD version of “Cats” she starred in. But same with the movie version with Madonna, I liked the Broadway recording much better.

          • MarkOH

            OMG, I saw it in London with Elaine. MUCH better than Patti! An amazing actress.

          • Billy Green

            We didn’t see it early in the run, so David Essex had left and been replaced by Gary Bond. Otherwise, we saw the original cast.

            Elaine Paige did a cabaret show in San Francisco in 2013 — the first time I’d seen her live since ‘Evita” in 1979. I took my souvenir program with me. She looked at it and said, “Oh, my! I haven’t seen this in years!” and flipped through it, looking at the photos. And that’s how I got my program autographed nearly 35 years after I saw the show….

            https://www.flickr.com/photos/[email protected]/albums/72157632896000798

          • wmforr

            And of course by me the definitive version is Julie Covington–because I heard it first. And it’s the only album with “Just one shot and the insects die like flies…” But then of course Rock Follies cemented my love for Julie while everyone else was asking, “who is Rula Lenska?”
            Did anyone catch the truly horrible pilot for an American version of Rock Follies?

          • Billy Green

            Kapow! Die!
            They don’t stand a chance!
            In the fly-killing world,
            It’s a major advance.
            In my world,
            It’ll mean finance!
            I’m shaping up,
            Successful, capitalist-wise.

            Yep, we have Tim Rice to thank for these deep lyrics. (And a young Colm “C.T.” Wilkinson for singing them.)

      • netxtown

        I actually heard the Festival dance version ‘first’…..which then led to learning about the whole schmear…and listening to the various versions….until I saw Evita (the movie).

    • Christopher
    • CanuckDon

      Lots of renditions and variations of it. My introduction to the song was actually way back in 1980 with the very popular disco version by Festival. You can imagine how crowded gay dancefloors got when the DJ mixed this in. I still enjoy it but nothing beats the more passionate Broadway performances. Course I’ll get a good slapping as well for saying I love Sarah Brightman’s version too!

      https://www.youtube.com/watch?v=Bs002P1pnY8

      • Right there with ya, Don. My first exposure as well—and still my favorite.

      • netxtown

        yes – i have the Festival LP…and yes it has been transcribed to digital foreverness. And when the club would play it – there was soooo much lip sync!

    • Bambino
    • David Walker

      Since a bunch of us are being bitch slapped (at this point it’s not even 10AM), I’ll just mention that I prefer Sutton Foster’s Reno Sweeney to Ms. Lupone’s. I guess it doesn’t hurt that I still have a heavy duty crush on the sailors, especially the seaman frequently on her left (screen right). *sigh*
      https://youtu.be/qo6lPifGnGA?t=14s

      • Yobitim

        You’re quite, LuPone was an awful Reno, singing in quite the wrong style and seeming very out of place and disinterested. Watching that clip reminds me that, whatever one thinks of it, Broadway performers can really do stuff. I mean really do it. There’s nowhere else in the world that you can see that kind pf performance done with such style and talent. Nowhere. In the 20th cent two art-forms were invented here in the US: jazz and the musical theatre.

        • wmforr

          Eileen Rodgers. Diffinitive.

      • Keiffer

        As for talented dancing backup keep your eyes on the guy that stands between Daniel and his co-star during the opening verse. I’ve pinpointed him in a couple of Tony Awards numbers. To be clear the guy on the right at 1:03.

        https://www.youtube.com/watch?v=69WpCBLrdSQ

        • David Walker

          Thanks. I do enjoy men dancing, especially when they’re terrific.

    • Yobitim

      Remember, though, that Ms LuPone sings live while Madonna is a studio fabrication, which you may or may not prefer. In the original production I thought Ms LuPone rather muted, mostly it was about the wigs, and surrounded by ridiculous performances from Bob Gunton and Mandy Patinkin. But then, I think the show is a pile of stinking bullshit full of putrid music. (I’ve never been so happy to see a fictional character diagnosed with cancer and only hoped that her death would be lingering and painful. Unfortunately, we had to sit through it) It was, however, superbly designed. If you’re at all interested, the original original performance, the one from the ‘concept album’ that sold all the records and helped launch the show was by Julie Covington.
      https://youtu.be/vsUqqBlm7QI

      • David Walker

        Thank you for that. I was introduced to Ms Covington via public TV in the “Rock Follies” series in 1976. I liked Charlotte Cornwell and finally found out who the hell Rula Lenska was. But I very quickly became a Julie Covington fan. Warning: may be too heavy for morning viewing and too much for those who don’t care for rock. Other than that…dig in.
        https://www.youtube.com/watch?v=MD9cuNDHAlQ

        • Yobitim

          Such a great series! The sequel didn’t quite measure up but boy! was the original all kinds of fun. I’d forgotten the title so thanks. Produced by Granada, as I remember.

      • Yes! This is the version I know, and the only one I like. Thank you for posting this.

    • Macbill

      For me, a lot of times my favorite version is the first one I heard. In this case, Patti LuPone was the first I heard (multiple times), and she will remain my favorite.

    • DrRobY

      I totally agree. But then it’s hard to compare a live version to one from a studio.

    • Dubito et cogitare

      The studio technicians who made Madonna sound like she could sing should have won a Grammy for her “performance.”

    • Denis

      I can defend Madonna’s version. Incapable of rendering a powerhouse vocal, she chose a more tender and, in my mind, a more emotional and therefore less ironic version. Her live version of Lament isn’t terrible.
      https://www.youtube.com/watch?v=7KWZfz6Ysps&ab_channel=sonicboy19

      • netxtown

        …and i think the more emotional and tender version actually fits the story line much better.

  • Butch

    I guess not completely on topic, but am I right that an awful lot of the numbers on the Grammys were lip-synced? There was no one visible to provide some of the instrumentation and backup vocals that I was hearing.

    • BJORN RAGNVALDR

      It’s highly possible that some may have lip synced. However, it is very common that instruments and back up singers are on a track.

      • Butch

        It was just a question, not necessarily a criticism; I just noticed that in a few cases the mouth movements weren’t matching the music.

        • David Walker

          It’s also possible that the band was in a different room, even a different location. That happens with the Tonys, and some live shows have different sections in different parts of the building for “better sound quality.” I disagree, but that’s because I’m an old fart. However, considering how much manipulation can go into a voice recording, it would not surprise me if some lip-syncing were involved.

    • JoeMyGod

      Our seats were above the wings and we could often spot accompanists that could not be seen by the arena audience or TV viewers.

  • #DJTK5F

    I recognized exactly one name on the winners’ list, and think she’s a grossly overrated media-confection.

    Grammys = as irrelevant as Oscars.

    • hdtex

      Bitterness makes you ugly…..and tedious.

      • #DJTK5F

        No bitterness; just disinterest. Much the same as reading your response.

        I even declined to name the winner I recognized, so you don’t even have any idea what I’m talking about.

        • canoebum

          You mean uninterested. Disinterested means impartial, which clearly you are not.

          • yeah, pretty much this. this idiot keeps coming here and leaving comments putting down everything and everyone, and then going on and on about how superior it is, because it doesn’t care about anything or anyone else’s opinions.

            we need a new name for trolls like these.

    • Do you not read…anything? How can you be ::that:: culturally illiterate?

      • #DJTK5F

        Right? ‘Cause the grammys are for books.

        Just another fool to block. #blocked

        • Not for books — but there’s this not-cute look people do where they think not knowing a piece of the culture is synonymous with some kind of greater intelligence; but it’s actually the opposite.

    • Oscarlating Wildely

      A song about surviving assault and molestation.
      A song about police brutality and attacks..
      A song that is now the most watched video ever and is completely in Spanish– in America, which all but tries to ban Spanish.
      Two songs to recognize the contributions of two of the greatest musical theater contributors who have ever lived, one of whom was bi.
      A bi woman who has gained attention for her work concerning LGBTQ inclusion and awareness of sexual assault.
      Another win by a multiracial artist in an era when a good deal of America is hating multiracial (and most non-white) people.
      A speech about Dreamers and their importance in the United States.
      And a nice big fuck you to Donald Trump.

      Sure, it’s easy to make fun of those cheesy artistic award shows. But awards get attention. They raise awareness, particularly with youth, and if it’s these issues that are being noted, by all means, award on.

      But after all, that’s all just media confection.

  • ErikDC

    Any of you remember the Will & Grace episode where Jack is trying to get a piece of Patti LuPone’s hair to complete his diva’s of Broadway wig? 😂

  • i am loving that dress. good job, Patti. i adore your work as an actor.

  • Ragnar Lothbrok

    Sing it Ben !!

  • Texndoc

    I was reading on Twitter trends, didn’t see the show, that many in the audience heard “Patti LaBelle” introduced and wondered who this white woman was. And after the cameras panned the audience, most on their feet applauding but catching some sitting on their hands. That clip they had.

  • JoyZeeBoy

    Lest there be ANY doubt who owns the role of Eva Peron and has since it opened on Broadway in 1979.

    • Dubito et cogitare

      I saw her in Evita in 1979 and just watched this. She definitely owns it.

  • TK

    Patti…Evita, always. Sunset, Never say goodbye. Anything Goes, You’re De-lovely. Sweeney Todd, No. JUST NO!

    She can do anything except a good Mrs. Lovett. That cockney accent was the worst!

  • Robert K Wright

    Ben was wonderful, but Patti brought it down. It was amazing to see her sing that song again. Hope she does more work that’s as vibrant as that.

  • Jean-Marc in Canada

    Brava! Bravo! Bravissimo!

  • Wayne

    I guess I’m channeling Joan Rivers; I can only focus on her bling!

  • Lumpy Gaga

    Platt’s a great talent, but I can’t listen to the cast recording of “Even Hansen”. A lot of awful music. Reminds me of trying listen to Dave Matthews.

  • Oscarlating Wildely

    Small note: Saw her in Sweeney Todd. Girl friend was wearing torn fishnet stockings and playing a euphonium, you know, the small tuba looking thing. She absolutely rocked the stage.

  • Chris Lion

    I’m kind of surprised Patti did a tribute to ALW… they have not been on good terms for a while.

  • Puckfair52

    42 Years ago I first heard Don’t cry for Me Argentina 1976 New Studio recorded Evita. There was a single on the sound system at the Wildwood then at Ty’s a month later

  • MassageBear