Jamie Lloyd’s daring revival of Andrew Lloyd Webber and Tim Rice’s iconic musical Evita is making waves at London’s Palladium, with a blend of stripped-back staging, bold choreography, and a powerhouse performance from Rachel Zegler as the enigmatic Eva Perón. This production, running until September 6, 2025, reimagines the classic 1978 score with a modern, almost rock-concert energy, delivering a spectacle that’s as much social commentary as it is musical theatre.
At just 24 years old, Rachel Zegler makes her UK stage debut in the title role, bringing a striking mix of star power, vocal prowess, and intense charisma. Known for her breakout role as María in Steven Spielberg’s 2021 West Side Story and her controversial turn in Disney’s live-action Snow White, Zegler has silenced critics with a commanding presence that fills the vast Palladium stage. Her performance is a revelation, blending passionate vibrato with sly insouciance, and she navigates Eva’s complex persona with a mix of ambition, vulnerability, and steely determination.
One of the production’s most talked-about moments is Zegler’s rendition of “Don’t Cry for Me Argentina” performed from the Palladium’s balcony to a crowd gathered outside the theatre. This innovative staging, where the live outdoor performance is relayed on a giant screen inside, creates a unique 360-degree theatrical experience that blurs the line between audience and spectacle. It’s a directorial coup by Lloyd, transforming the public into an active part of the show and evoking the populist rallies that defined Eva Perón’s political rise. Critics have hailed this as “the musical theatre stunt of the century,” a bold gesture that underscores the themes of charisma and mass manipulation central to the narrative.
The production’s design is minimalist yet monumental. Soutra Gilmour’s set features a towering staircase crowned by giant illuminated letters spelling “E-V-I-T-A,” which symbolize Eva’s meteoric climb from poverty to power. The ensemble’s athletic choreography, crafted by Fabian Aloise, pulsates with sexual energy and muscularity, evoking the spirit of a stadium rock concert. The performers, often scantily clad, move with fierce lines and vigorous diagonals, their bodies forming a living, breathing backdrop to the story’s political and emotional drama.
James Olivas’s portrayal of Juan Perón complements Zegler’s Eva with a powerful physicality. He is presented as a bare-chested, gym-honed figure, towering over the petite Eva and embodying the seductive allure of authoritarian power. Their chemistry is palpable, especially in the tango-tinged duet “I’d Be Surprisingly Good for You,” where flirtation and political ambition intertwine. Diego Andres Rodriguez, making his West End debut as Che, serves as a cynical narrator and foil to Eva’s ambition. His performance is layered with charisma and bite, stripping away any romanticism to reveal the darker undercurrents of the story. Rodriguez’s Che is both a commentator and a participant, at times disrobing and being doused in paint, adding to the show’s visceral, physical intensity.
The musical’s score is given fresh life under the musical direction of Alan Williams, who balances the grandeur of Andrew Lloyd Webber’s compositions with a raw, electrifying energy. Songs like “Another Suitcase in Another Hall,” sung by Bella Brown as the discarded mistress, and “Rainbow High,” delivered with full force by Zegler, highlight the emotional and melodic depth of the original work. Yet, the production’s relentless volume and fast pace sometimes drown out Tim Rice’s sharp lyrics, making the narrative harder to follow for newcomers. This has sparked some debate among critics, with a few lamenting the loss of narrative clarity and character nuance in favor of spectacle.
Director Jamie Lloyd’s vision leans heavily into the themes of populism and spectacle, reflecting contemporary political climates. The show’s visual and sonic intensity evoke the hypnotic appeal of charismatic leaders and the dangerous allure of mass adoration. The choreography’s suggestive hip-thrusts and gyrations, combined with thunderous lighting and sound design by Jon Clark and Adam Fisher, create an atmosphere that is both exhilarating and unsettling. The production does not shy away from portraying the transactional nature of Eva’s rise, nor the authoritarian tendencies of Peronism, making it a timely and provocative piece.
Despite the occasional criticism of its narrative thinness, the production’s emotional core shines through in quieter moments. Zegler’s portrayal reveals cracks of vulnerability beneath Eva’s public persona, especially during intimate scenes like the dressing room sequence where she removes her blonde wig, and the climactic “You Must Love Me,” sung as she faces her mortality. These moments add depth to a character often seen as merely a symbol or caricature, reminding audiences of the human cost behind the political spectacle.
The ensemble cast, including Aaron Lee Lambert as Agustín Magaldi and a talented group of swings and supporting performers, brings vitality and texture to the production. The choreography’s athleticism and the ensemble’s charisma create a dynamic and immersive experience that keeps audiences engaged throughout the two-and-a-half-hour runtime.
Reviews from London’s critics have been overwhelmingly positive, praising Zegler’s “enthralling,” “phenomenal,” and “sensational” performance, as well as Lloyd’s innovative direction and Aloise’s choreography. While some have noted the show’s tendency toward sensory overload and the challenges posed by its amplified sound, the consensus is that this Evita is a thrilling, relevant, and unforgettable revival. Many see it as a potential Broadway-bound hit that redefines a classic for a new generation.
Ultimately, Jamie Lloyd’s Evita at the London Palladium is more than just a musical; it’s a commentary on power, celebrity, and the intoxicating nature of populism. With Rachel Zegler at its heart, the production captures the dazzling highs and tragic lows of Eva Perón’s story, leaving audiences both awestruck and contemplative. As the show continues its run through early September, it stands as a testament to the enduring power of theatre to reflect and challenge the times we live in.
