Evita Review
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With Jamie Lloyd’s productions of Much Ado About Nothing and Sunset Boulevard receiving critical acclaim from reviewers and audiences alike, all eyes were rightfully on the director's next theatrical adaptation. Therefore, it was no surprise when Rachel Zegler was announced to be playing Eva Perón in the director's take on Andrew Lloyd Weber's Evita, the actress known for her star quality and powerhouse vocals. Following predecessors such as Patti Lupone, Madonna and Elaine Page, the twenty four year old was given the mammoth task of carving out her own unique performance to rival those who've come before and it is fair to say she has more than succeeded.
Evita tells the story of the personal and political life of Eva Perón, a former first lady of Argentina whose career as an actress, politician and activist remains divisive even to this day. Her acts of charity and relationship with the working class, whilst often praised, were also critiqued due to the lavish lifestyle she led with husband and President of Argentina Juan Perón.
This same sense of controversy can also be seen within Lloyd's 2025 production, his choice to present the show's anthem ‘Don't Cry For Me Argentina’ on the balcony of the London Palladium to a non-paying audience sparking debate online. However, whilst some may disapprove of this creative decision, it has proved to be an ingenious move. By challenging the boundaries of theatre, Evita has now become the most talked about production in the West End and as more people gather in Argyll Street to view Zegler's unmissable performance, the true power of the arts is on full display. The atmosphere within the theatre also remains electric as the live broadcast is projected onto a towering screen, symbolic of how we remain merely spectators in the public figures life and legacy.
Most notable about the production is the talent on display, the choice of minimal props, plain outfits and a sparse set allowing the vocal capabilities of the cast to remain central. Within the first act Zegler exudes confidence as she peacocks across the stage in a black undergarment set, replicated within the ensemble (emphasising Eva's underprivileged background), whilst Che (Diego Andres Rodriguez) spends the entirety of the show in plain black. This sense of simplicity prioritises the interactions between characters rather than their context, creating a greater emotional connection between actor and audience.
However, whilst this unadorned representation of Eva Perón's life holds many virtues, it can also be argued that a lack of knowledge regarding the subject matter may leave some confused. With a reliance on the narrative being told through song, it is often hard to follow the intricacies of the plot, Lloyd possibly focusing on the style rather than the substance of the source material.
That being said, the sheer charm and theatrical agility of the leading performers and ensemble make up for any possible faults. The spectacle of numbers such as ‘On This Night Of A Thousand Stars’ whisks away all sense of doubt and replaces it with a potent reverence. Aided by the crisp, baritone vocals of Aaron Lee Lambert (who excels in his portrayal of Agustín Magaldi), the song becomes a staple of the show and one you'll be wishing to hear a thousand times more.
Credit must also be given to the ensemble, who manage to fill an empty stage with an abundance of life. From twerking to intimate ballroom dances, the cast span genres with ease whilst complimenting the magnetism of Zegler - a testament to both Lloyd's direction and the choreography of Fabian Aloise.
Most will flock to Evita for the leading lady (and understandably so) yet a clear standout performance is delivered by Diego Andres Rodriguez whose West End debut marks the rise of a new talent. The actor's embodiment of Che provides a representative for the people, one which the audience are encouraged to look to for guidance. Rodriguez's charisma and brilliance suits the role perfectly, whilst his often raw and gritty vocal tone provides a building feeling of desperation as the production draws to a close. A particularly spine tingling moment involving three buckets of paint and a spotlight solidifies the actor's performance as one of astounding merit, whatever he appears in next will only improve with his presence.
Whilst Evita lacks clarity in moments and the viewing experience may be enhanced by a Google search beforehand, the production is a triumph for all involved. Zegler is a force to be reckoned with and is aided by the talent of the supporting cast who all have not just a touch, but a wealth of star quality.
