Evita at London Palladium

Over the past week, Rachel Zegler has been causing quite the frenzy by serenading London fans atop the London Palladium. For those who haven’t seen Jamie Lloyd’s production of Andrew Lloyd Webber and Tim Rice’s iconic musical, Evita, it’s a rousing taste of what’s to come. After a difficult year blighted by the Snow White controversy and her outspoken political convictions, Zegler has a chance to shine as Eva “Evita” Perón in her West End debut.

Che (Diego Andres Rodriguez) narrates the story of the titular First Lady of Argentina, from her dalliance with tango star Agustín Magaldi (an excellent Aaron Lee Lambert, who also excels at adding a comedic touch to proceedings) to her marriage to Juan Perón (James Olivas) and her tragic, untimely death. Rodriguez does a brilliant job of imbuing Che with an everyman quality, providing snarky political commentary on the Peróns and their muddled ideology (to this day, it’s unclear what Perónism actually is, aside from populist nationalism). Zegler and Olivas have palpable chemistry on stage, both showing off their lung capacity and dance moves while remaining impressively harmonised with the electrifying supporting cast.

Evita has gone through numerous reinterpretations since its inception in 1978, all featuring postmodern elements. In this instance, the seamlessly choreographed On This Night of a Thousand Stars features twerking from the talented, activewear-adorning ensemble. Accordingly, those seeking a historically accurate retelling of Eva Peron’s life – or even a callback to the original musical – might be somewhat disappointed.

There’s an emphasis on modernising the tale, with very little in the way of intricate set design or costumes. Instead, we have a blanket of smoke obscuring the otherwise stark stage during Requiem, and an explosion of confetti and ribbons engulfing the audience at the end of A New Argentina. It’s a stunt that’s captivating in its execution, but one that’s also a harbinger of what follows. Indeed, the aforementioned moment in Act II, in which Zegler leaves the stage to sing to the bustling crowd in central London, all of which is projected onto a screen for the theatre audience, makes this reliance on anachronism all the more apparent. This fourth wall-breaking spectacle (which includes glimpses of Pret a Manger, thereby eliciting giggles from theatregoers) is a little gimmicky, but Zegler’s charisma and talent lift it above cynical pretension.

And this is, after all, a showcase for a young actor broadening her repertoire. Following her performance in Evita, there’s no ambiguity over Zegler’s multitudinous skills. From her enigmatic presence to her earth-shaking pipes – not to mention her command of physical space as she traverses the stage – this is the actor’s coming-out party, as it were. Devotees of the musical will undoubtedly revel in this production, but even the Lloyd Webber-averse have much to enjoy here. With a fantastic lead and a soaring rock opera-esque score, Evita is staying true to its show-of-the-summer hype.

Antonia Georgiou
Photos: Marc Brenner

Evita is at the London Palladium until 6^th September 2025. For further information or to book, visit the theatre’s website here.

Watch the trailer for Evita at the London Palladium here: