By Trudi-Rose Edwards
Jamie Lloyd has his formula down to a tee. Take a popular, but slightly past it, Andrew Lloyd Webber musical: strip it of its traditional staging and costuming, cast a contemporary female star in the lead role, incorporate the theatre into the set, and film the Act 2 opening number outdoors and you have a showstopping production that everyone wants tickets for.
You’d think he wouldn’t be able to pull off the same trick twice, but he did it in 2023 with Sunset Boulevard and he’s done it again with Evita.
Starring Rachel Zegler (in her West End debut) as ruthless social climber Eva Duarte who goes on to marry Juan Peron and become the First Lady of Argentina, this telling of her rise to and subsequent fall from power is a big, bombastic, concert like production. You’d be forgiven for thinking ‘Evita’ was the name of the latest pop sensation from the way the stage is lit up with her name and the slick, high-energy choreography that accompanies every musical number.
The big moment, of course, is one that has managed to make headline news. The opening of the second act, the musical’s most famous number ‘Don’t Cry for Me Argentina’ takes place off-stage, on the balcony of the Palladium, where Zegler – complete with Eva-style blonde wig – addresses the crowd (which seems to grow daily) gathered on Argyll Street below. It’s a moment that has stirred up some controversy with some ticket holders feeling short-changed by the process.
Which is frankly, ridiculous.
This has to be one of the cleverest, most meta moments in theatre ever. For decades, this balcony scene has taken place on stage with various iterations of prop balconies, a handful of chorus members making up the ‘crowd’ addressed by Eva, and an audience that has to just believe that the people of Argentina adore this wonderous Santa Evita. Decent productions do it well, generally helped along by some of the biggest names in musical theatre taking on the role of Evita (Elaine Paige, Patti LuPone, Marti Webb etc.) But none have been able to truly reflect the almost mythical quality Eva Peron had like this version.
The crowds outside may gloat that they get to experience a free (sensational) performance from Rachel Zegler every night, but they are in fact a free prop. The camera cut to the crowd waiting with baited breath in anticipation for Zegler’s Peron to come out and address them could not be captured in any better way. They are the descamisados, the people, the poor who adored Eva whilst we, the audience, are the elite, the ones who get to see behind the scenes, see the real Eva and all from the (relative) comfort of the Palladium’s auditorium.
I just can’t deal with detractors of this moment…I just can’t.
She’s literally singing on a balcony!!
But for the sake of tolerance, I will point out a few of the show’s shortcomings, although this is nitpicking at best.
Perhaps the biggest issue the show faces is the storytelling. Evita is a sung-through musical, there’s very little script and so Jamie Lloyd’s minimalist approach means that scenes aren’t contextualised through sets and period costumes the way previous productions have done so. Those without prior knowledge of Peronism or the musical in general may struggle with the fast-paced narrative.
The pacing in general is also a slight gripe. The first act absolutely flies by, to the point that you feel an extra song or two could have been included (The Lady’s Got Potential springs to mind) or even a few lines of dialogue to give the show some room to breathe.
As you can tell, I’m clutching at negative straws here. The show is fabulous. Rachel Zegler is phenomenal, absolutely note perfect throughout and when I say that’s no mean feat, believe me!
Despite it being a show-stopping number, Don’t Cry for Me isn’t exactly the most challenging song of the show, Evita is packed with far more demanding numbers including Buenos Aires a punchy, dance number with Tim Rice lyrics that borderline on tongue twisters – Zegler’s vocals soar, her dancing is on par with the ensemble around her (no ‘parking and barking’ as they say) and the clarity of her enunciation should be taught in theatre schools (look up Patti LuPone’s version at the 35th Tonys for contrast). There’s no Madonna style modulation on the high notes of A New Argentina and she gives a heartbreakingly beautiful rendition of You Must Love Me whilst lying down in the cradling arms of her Juan Peron (James Olivas).
Zegler isn’t the only star performer in the cast. Our narrator Che, played by Diego Andres Rodriguez. has an edge fantastically suited to the more rock-opera style musicals that Andrew Lloyd Webber has a penchant for (Judas in Jesus Christ Superstar? I’m calling it now) and throws himself into every number with high energy and sass. James Olivas’ Peron is nuanced – not just your typical older man who falls for a pretty girl kind of Peron – and his vocal range is on full display.
A few small gripes aside, this version of Evita is refreshing, entertaining and – despite what the Tik Toks and news coverage might suggest – not at all gimmicky. Rachel Zegler has clearly been underutilised starring in Disney remakes and Hunger Games spinoffs, she belongs on the stage (if it doesn’t transfer with her to Broadway I’ll be shocked!).
Put simply, it really is the show of the summer – you might even say it’s High Flying, Adored.
Evita is at the London Palladium for a limited run until 6 September.
Photos by Marc Brennan