Evita review: Jamie Lloyd and Rachel Zegler are making musical theatre history
This stellar production is the latest step in the unstoppable rise of both Jamie Lloyd and Rachel Zegler.
Over the past few years, theatre professionals have been taking bold steps to draw new audience members to the West End. From casting popular on-screen actors like Tom Holland and Sigourney Weaver in starring roles, to using cameras in new and innovative ways in productions like Kip William's The Picture of Dorian Gray, the West End has been evolving to reach a new audience.
Now, Jamie Lloyd has taken this to the next level by giving the general public a taste of his production of Andrew Lloyd Webber's Evita, the most talked-about show on the West End, for free.
Despite having only opened in June, Jamie Lloyd's Evita has already created plenty of buzz in the theatre world and beyond. You've probably already seen the videos swarming social media of Rachel Zegler as Eva Perón performing Don't Cry For Me Argentina on the balcony outside the Palladium. More on that later.
It's clear from the very first note of the opening number that Evita absolutely deserves all of the hype it's getting. Watching this production is watching musical theatre history being made in front of your eyes.
The decision to stage Evita, a show usually featuring opulent set design, on an extremely pared back set is a risky one. However, watching this bold move at the Palladium, the genius of Lloyd's decision is striking.
The less opulent the staging, the more the spotlight is shone on the core elements of the show – and the clever directorial decisions, rich source material, stage full of triple threats and emotive lighting deserve all the focus they can get.
Rachel Zegler is spellbinding as Eva Perón, emanating power, cunning and raw sexuality on stage in a Lady Macbeth-esque performance. This is an actress who's clearly made for the stage.
When watching Zegler's performance and her interaction with the crowds of adoring fans at stage door, it's tempting to christen her as the next Patti LuPone or Bernadette Peters. But this would do her a disservice; Rachel Zegler is utterly herself, a shining talent that is taking the world by storm.
Of course, we have to discuss the famous balcony scene. When the news first broke that the most famous number of the musical, Don't Cry For Me Argentina, would be performed outside and live streamed to the audience, reactions were mixed, to say the least. However, this has proved to be one of the most thought-provoking and impactful decisions in recent West End history.
When the camera panned to the crowds gathered outside, the audience gasped at the sheer number of people waiting to see Zegler perform. From inside the theatre, this is a truly unique experience, with Zegler's direct addresses to camera providing an innovative fourth wall break and changing how you, the audience member, feel about your role.
Most of the recent coverage about this production has focused on Jamie Lloyd and Rachel Zegler; however, it's impossible to ignore the power of Tim Rice and Andrew Lloyd-Webber's source material.
While a divisive figure in the world of musical theatre, Lloyd-Webber has crafted a fascinating musical landscape, from the eerie and powerful Requiem for Evita to the infectious rhythms of Buenos Aires and the clever leitmotifs present throughout the score.
A spotlight should also be shone on choreographer Fabian Aloise, the brains behind the raw, sensual movement onstage. Aloise has been vocal about his belief that dancing is acting, and his creative ethos is clear in this production.
While it's important to marvel at the sheer force of talent behind this production, perhaps the biggest marvel of all is how this production is connecting the theatre to the general public.
Jamie Lloyd has been outspoken about his disdain for the inaccessibility of the theatre. In the past, he has repeatedly used innovative ideas to bring people to the theatre; now he is bringing the theatre to the people, and changing the landscape of modern musical theatre as he's doing it.
We've got some further reading to do on Evita's balcony scene, plus an exclusive interview with the West End cast of Till The Stars Come Down.
When and where can I see Evita?
Evita is playing at the London Palladium in Central London (right by Oxford Circus tube station) from 14th June until 6th September 2025.
You can also catch Rachel Zegler's balcony performance of Don't Cry For Me Argentina at around 9pm each night (bar Sundays) and around 4pm on matinee days outside the London Palladium.
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How to get Evita tickets
Simply follow the links below to head to the ticketing website of your choice and select your tickets. There are still plenty of tickets left, and plenty of affordable seats.
For more theatre recommendations, here's our roundup of the best West End shows and the best open air theatre shows.
