Elena Roger
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Elena Roger is in a chatty mood late one Friday afternoon, which comes as something of a happy surprise. On the one hand, one might assume she would prefer not to speak, since she has to conserve her vocal energies for the role that has made her an overnight West End star: Eva Peron in the Michael Grandage revival of Evita, the Andrew Lloyd Webber/Tim Rice musical that reopened on June 21, 28 years to the day after the original Hal Prince production made theatrical history. This latest incarnation makes its own kind of history, insofar as Roger, who will be 32 in October, is the first-ever Argentine performer to star in this definably English show. The actress' other reason for perhaps preferring silence on this particular day is to be able to watch the World Cup match between her home country and Germany—an important playoff that Germany ended up winning on penalties, thereby knocking Argentina out of any chance it had for the semi-finals. Instead, the petite belter (she stands just under five-feet tall and is appreciably slimmer than many previous stage Evas) keeps her mobile phone on, receiving texts as appropriate as and when a goal comes through. Wouldn't she like to give the sport her undivided attention? "I am not interested in football, really," Roger tells me, welcoming me into a dressing room that, she reports matter-of-factly, "they say is the biggest in the West End; someone told me." Boasting wood flooring instead of carpeting ("I don't like carpets; I'm allergic, so it's better not to have them"), the room is awash with flowers—opening night presents from the week before—and a framed picture of Eva Duarte Peron with the word Elena written across it: that one was a gift from her friend Lucilla. Friendship, indeed, played a crucial role in landing Roger so prestigious a gig: it was an Argentine friend, Ana Moll, now the London-based PA to the show's head of production, Patrick Murphy, who put Roger forward for a job for which she ended up auditioning three times. She finally got the role early this year and, following the press night six months later, left the critics grabbing at superlatives. The consensus: a show which famously sings of "star quality" had found an unknown leading lady who possesses that very gift. Roger discussed the biggest night of her professional life to date, not to mention the challenge involved in wrapping her Spanish-speaking tongue around Rice's English lyrics, in an interview in which even her sometimes charmingly fractured English left no doubt whatsoever as to what she was saying.
It must have been so astonishing to get this role.
It was amazing. Two years ago, I travelled here to do [the dance show] Tango por Dos , and I met Ana [Moll]. We had met in Argentina doing Nine and then she moved here and we lost contact. But we met up again and she had this job as secretary for one of the producers [Patrick Murphy] and we were friends and we talked frequently and she said, They are doing the auditions; I think you have to come. So I sent a video of my work and they said, OK, she's able to come, and so my first trip over was in September 2005, and then I returned in October and then again in January.
Did you have to prepare different things each time?
I didn't rehearse anything—well, only the lyrics, where I learned how English is not my language [laughs]. So I learned the phonetics and how I have to pronounce everything, since the first problem Michael Grandage told me was about my diction and that I had to improve my diction. Well, I did it, and I got the role.
That's really something. Did you grow up speaking English?
I learned a little in the school, my high school, and at a private institute until I was 23. Then I left that and thought, “Never more.” So I had to take the course again and really remember everything. I took conversation classes when I came here to audition, and it's now easier to improve because I'm always learning English. I've been learning the whole script and understanding how to do it but I know I have a long way to learn everything better and that sometimes I need vocabulary and how to do the sentences and the structure, and it's not easy.
You're sounding pretty fluent. Do you get to keep up your Spanish?
I speak Spanish with Ana, my friend, who's here, and with my boyfriend, Javier. He's a musician—a composer and arranger—and he's here because we don't want to separate.
Elena Roger in Evita
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As far as Evita is concerned, it probably helped to be able to watch the production in previews with your alternate, Abbie Osmon (who does two of the eight performances every week).
Yes, I saw the show the second time she did it. I sat with the director, Michael, and it was very useful, because it was very difficult for me about the language, having to learn all the words and the meanings—my meanings and the others. Sometimes, I lost the meanings, and I was for a long time only interested in my lines and my parts. But when I watched everything, I thought, I know how the whole show is. And also [thinking aloud], “Ah, perhaps this is not working,” or, “I'm not working when I'm doing that: I can manage this part or that part better and improve things.”
You'd obviously been to London before with the tango show. Had you ever been to New York?
Once, just for holiday. We did Les Miserables in Buenos Aires, and a couple of friends and me, we travelled to New York. I saw Saturday Night Fever because I had to play Annette after that in a production in Buenos Aires, and Fosse. I had been here in London before that, so had seen Les Miserables, Phantom of the Opera, Jesus Christ Superstar then and some others. The thing is, it's very difficult for us to travel. When we first started to come to Europe and it was one dollar/one peso, it was so easy for us but then there was an economic crisis and now it's very difficult: there are six pesos to one pound. It's terrible.
Now that you're starring in the West End, does the theatrical climate in London feel very different from that back home?
What is different here in London is that the theatre is very important. I don't know how is the TV, but in Argentina what is most important is what happened on TV, more than what happened in the theatres. There's not too much money to go to theatre, so there is a little audience and they go to everything. In Argentina, I had done not much on TV so was recognised only by my theatre things and one show in particular, which was a show about Mina, the very famous Italian singer. That won five critics' awards and was my best job in Argentina: I was the only one on stage and sang for an hour-and-a-half in Italian; it's the most important show I've done back home.
But you also did a lot of Broadway and London shows in their Argentina premieres.
Nine was my first job from Broadway, directed by David Leveaux; I was 23 and played Maria, a very little role. My first show was Hunchback of Notre Dame in 1993, a version written by an Argentinian writer. We performed it in Luna Park, the same place where Peron and Eva met. After Nine came Beauty and the Beast, playing the silly little girl, the one who fell down and collapsed all the time. The first important role was Fantine in Les Miserables—directed by Ken Caswell, who directed Philip Quast [her Juan Peron in Evita] in the gala Les Miserables anniversary performance.
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