Rachel Zegler’s Evita Soars—But Is the Story Getting Lost?
So, I just saw something that’s honestly stuck with me—Rachel Zegler’s turn as Eva Perón in Evita at the London Palladium. And let me just say right off the bat: Zegler is absolutely phenomenal. Her performance is commanding, magnetic, even chilling in the best way possible. She embodies Eva Perón like a woman on a mission—small in stature but radiating a towering ambition. And yet, while her performance is unforgettable, the show itself raises some big questions.
Jamie Lloyd’s direction of this new Evita is... bold. It's unlike anything I’ve seen before. It turns the classic Andrew Lloyd Webber and Tim Rice musical into this rock-infused, almost stadium-level spectacle. There’s booming sound, pulsating lights, and choreography that honestly feels more like Beyoncé or Lady Gaga than traditional West End fare. And while it's exciting—electrifying even—it comes at a cost: the story often takes a backseat to the spectacle.
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The most talked-about moment? Zegler walking offstage and singing Don’t Cry for Me Argentina from an actual balcony outside the theatre. Yes, outside. She performs it directly to the crowd gathered on the street, and inside, the audience watches it on a live video feed. It's genius in a way—blurring the lines between performance and reality, making the public literally part of the show. It captures the populist energy that Eva Perón herself was known for. But again, it's more a statement than a story beat.
There are flashes of emotional depth. We get a glimpse of Eva’s vulnerability in a later scene—alone, crying in her dressing room—but those moments feel fleeting. The production leans hard into visual impact and loud, stylized commentary on fame, power, and control, which is fine… until you realize you're not really connecting with the characters as people anymore.
Even Che, the narrator, is stripped of clear identity in this version. He's not obviously Che Guevara anymore; he’s just… a guy in black. So, unless you already know the show, you might be left wondering who he even is. The political descent into authoritarianism? It’s there—but abstract, not deeply explored.
Still, if you’re in it for the vocals, dancing, and jaw-dropping direction, this Evita absolutely delivers. The ensemble? Electric. The visuals? Stunning. And Rachel Zegler? She’s a star—hands down. Her voice soars, her presence dominates, and her charisma could hypnotize a crowd, just like the real Eva Perón.
Evita is unforgettable—but not always for the reasons you expect.
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