EVITA
The London Palladium
★★★★
“an enjoyably bold twist on a classic”
In a theatre landscape overrun by the contemporary glitz of Six, & Juliet and yet another adaptation of an early 2000s chick-flick – it’s a big ask to dazzle audiences with a seventies relic telling the tale of an Argentine political powerhouse, but Jamie Lloyd’s new production of Evita certainly gives it a good go.
From the off it almost feels as if you could be sitting in NYC watching the recent Sunset Boulevard: this is classic Lloyd. We’re talking sparse stage, bleak colours and characters refusing to look each other in the eye. But despite the harsh initial impression it leaves, this production of Tim Rice and Andrew Lloyd Webber’s classic musical packs a mighty punch and certainly pushes the boat out for what we’ve come to love and expect of the usually colourful, safe Lloyd Webber shows.
Just in case you’ve managed to dodge the plot for the past fifty years, Evita follows the story of Eva Peron, an Argentine political leader and second wife to former president Juan Peron. We follow Eva from her days of ambitious youth in the slums of Argentina to her remarkable ascension to power and fame, and finally through to her untimely demise. Rachel Zegler takes on the role of Eva with fierce, soaring vocals that bring a desperately needed new lease of life to this score. The American actress exudes seemingly endless energy as she struts, gyrates and bops her way around the stage (choreography by Fabian Aloise). Indeed, Zegler barely has a moment to catch her breath (as emphasised by Diego Andres Rodriguez, who plays Che, sneaking her water bottle onstage mid dance break) and is present for Eva’s entire journey. Despite her youth, Zegler plays the two decades span of Eva’s life with clarity and grace; often reminding us that Eva herself was only thirty-three years old when she passed away from cervical cancer. However, one can’t help but wish Zegler would step outside of her box a little more and really take the bull by the horns: a little less prettiness and a little more grit would been welcome.
Throughout Lloyd’s updated production one can really tell they are watching a show made for 2025. Some of the modernisms work beautifully (groovy drum solos during Dangerous Jade and the ensemble twerking to Eva, Beware of the City; I’m looking at you) and some of them really miss the mark: the Camp Rock style E-V-I-T-A chant implanted into Rainbow High implants the audience in entirely the wrong atmosphere.
A much-anticipated stand out moment of the show was of course Zegler’s Don’t Cry For Me Argentina delivered live from an outside balcony thanks to the help of some handy camerawork. For those of us inside the theatre, it really felt as if Eva was becoming untouchable as she rose power; no longer a tangible entity for us to hold. Either that or she was out with her Descamisados in the street and we, the elite, were not privy to her love stuck inside our bejewelled theatre boxes. Either way the FOMO was real.
The plight of the Descamisados (‘without shirts’ in Spanish which is quite literal for Rodriguez in this production) has never been more clearly shown than with the brutal visuals of Che; bloodied, battered and cowering on the floor, cruelly doused in paint in the colours of the country he adores. Rodriguez brings a charismatic charm to the role which matches the sass of Zegler perfectly. Indeed, the pair have beautiful chemistry, playfully flirting their way through the score in an effort to make Eva’s rise and Che’s fall all the more heartbreaking and impactful.
The design elements of the show (Soutra Gilmour set and costume, Jon Clark lighting and Adam Fisher sound) take a while to get going. One feels, much like Eva’s own story, that the show peaks in the middle, with the bookends being a little sluggish and dull. While Zegler prances around mostly in a bralette and shorts (not what you typically expect of Eva Peron), the ensemble costumes seem to grow to match the acquisition of Eva’s wealth. There’s a nice touch towards the end of act one as the ensemble emerge dressed identically to the two Perons: a people united in reflecting their leaders.
The real standout song of the show is The Art of the Possible. Traditionally a moment devoted to the hyper-masculine, military ensemble, Llyod has reimagined this moment as a beautiful reminder of the power Eva held. While still sung by men, the song is led by a female ensemble member who, whilst dressed to the nines in a pseudo military get up, exudes power and sultriness as she guides each female assassin standing behind the soldiers in their executions. Deaths that come in the package of a popped balloon (or not popped in the case of one poor ensemble member) and Argentinian blue confetti.
We are happily appeased by the traditional image we crave of Eva Person – the jewels, the gown, the blonde hair – though Zegler’s stark stripping of these elements as we watch through the camera lens is yet another reminder that this is a show that’s fighting back against our desires. Still, the act one finale gives us the grandiose we yearn for: more confetti canons than you’ve seen in your life and elated ensemble vocals drowning out a bloodied, broken Che. In fact, the ensemble excel throughout and seamlessly fill the stage with their flowing, coordinated movements, though one does feel these start to get samey pretty quickly. The ending, much like the beginning, is stark, modern, and just a little uninteresting given the heights we’ve seen this show reach before. Despite a few teething problems (a very noisy backdrop that insisted on being lowered during quiet songs and the ensemble’s lack of ability to coordinate their consonant placement) this production holds real power and is a clear reminder of the harsh, cruel reality of Evita’s story.
While the highlighted elements of elected power versus the power of the people are certainly relevant to today’s bleak political landscape, the show lacks the overall gritty punch of a call to arms. But whether this is the most needed piece of theatre right now or not, it’s certainly an entertaining night out and an enjoyably bold twist on a classic.
EVITA
The London Palladium
Reviewed by Kathryn McQueen
Photography by Marc Brenner
Previously reviewed at this venue:
QUEEN BY CANDLENIGHT | ★★★★ | April 2025
FIGARO: AN ORIGINAL MUSICAL | ★★ | February 2025
HELLO, DOLLY! | ★★★★ | July 2024
THE ADDAMS FAMILY A MUSICAL COMEDY – LIVE IN CONCERT | ★½ | February 2024
TRUE TALES OF SEX, SUCCESS AND SEX AND THE CITY | ★★★½ | February 2024
DEATH NOTE – THE MUSICAL IN CONCERT | ★★★★ | August 2023
