Review: Evita

“Oh, what a show” indeed.

In the newest installment in what seems to be a never ending stream of shows on either side of the Atlantic, director Jamie Lloyd has created another stunning masterpiece. Evita, Andrew Lloyd Webber’s 1976 rock opera is completely sung-through and follows the tragically short life of Argentine first lady Eva Perón. Due to its political themes and earworm melodies, the show has seen hundreds of productions around the world and has become one of the most well-known musicals of all time. Lloyd’s production, however, promised something new, in the same way his previous shows have, and it did not disappoint. He breathed new life into the material, pulling out different aspects of the story, especially themes of political power and public image, that speak to today’s audiences, making it relevant to the modern world. 

Rachel Zegler in Evita

Starring Rachel Zegler as Eva Perón in her second professional stage role, her Eva is like no other. Framing the show as a pop concert, Zegler commands the stage from the moment she appears all the way through to the end of the show, powerfully belting her way through some of the hardest material in the musical theatre songbook. Her voice was made for this role—it is clear and powerful, never wavering even during the highest and most difficult sections. Her acting was captivating as well, clearly showing Eva’s climb to power in all its ruthlessness all while still using her magnetic charisma to convince the audience to love and root for her. 

Always ready to contradict her every move, rising star Diego Andres Rodriguez plays a vicious Che, the show’s narrator and a critic of the Perón regime. Snarling as he paces broodingly and dances so

The company of Evita

ferociously, all while singing brilliantly, he was the standout of the show. As less of a mere observer than his predecessors, he is much more aggressive in his characterization, creating a new, ferocious opponent of Eva. Rounding out the leading trio, James Olivas played a notably different Juan Perón. Cast much more youthfully in this production, Olivas still brought the rich baritone that defines Perón’s political authority, but some surprising uses of falsetto during his more vulnerable moments allowed him to appear young and innocent, also swept up in Eva’s climb towards power. 

Also featured are Aaron Lee Lambert as tango singer Agustín Magaldi, who gave a wonderfully comedic rendition of “On This Night of a Thousand Stars,” and Bella Brown, who plays The Mistress. Brown’s performance of “Another Suitcase in Another Hall” was devastatingly beautiful and wrought with emotion as she showed how ruthless Eva was becoming. Not to mention, she is also the alternate for Eva Perón and had performed the second act the night before after Zegler had to call out mid-show. The rest of the ensemble was equally brilliant. Executing Fabian Aloise’s seductive and sharp choreography perfectly while powerfully delivering the biggest numbers of the show, their dynamism and coordination always keeps the show’s energy high.

The London Palladium

Staying true to some elements of his established minimalist style, Jamie Lloyd’s Evita is unlike any previous production of the show. But unlike Lloyd’s recent revival of Sunset Blvd., Evita features a few elements that had not been present. On board again, set and costume designer Soutra Gilmour had much more of a presence in Evita. The stage is made up of a long series of steps, utilized in many ways throughout the production, especially to show the power dynamics that control the show. For much of the opening scene, Rodriguez as Che is kneeling on the very bottom step, looking up at Zegler as she stands in a power pose, eyes silently putting him in his place as a member of the lower class. Additionally, there is a large sign that flies in and out reading "EVITA," that adds to the production’s concert-like feel. 

Gilmour’s costumes have more personality as well—the ensemble wore basic grey clothes as the “descamisados,” with outer layers that they added on to become the many different characters they played. Eva too, had multiple costumes, starting the show in a black leather top and shorts, before changing into the iconic white gown for the start of Act II, then back into a now diamond encrusted top and shorts for the remainder of the show. While wearing the gown, she also adds a blonde wig over her brown hair, which she removes after singing to her people. The Mistress also wears a wig, which she removed as she packed her belongings during “Another Suitcase in Another Hall,” and both hers and Eva’s wigs were a creative way of symbolizing the way both women had to change a bit of themselves once in the public eye in order to hold their public image in Juan Perón’s spotlight, versus their authenticity that they didn’t allow the public to see. 

The lighting was equally exceptional, playing a major role in the entire show. From the very first moments where fixtures beneath the steps lit up like candles to the final spotlight on Eva, this show was full of striking visuals. Also playing into the pop-star theme, there were countless moments where the lights took over, filling the space where scenery usually would be. The sound was well balanced as well. No previous production has ever truly let this show’s rock opera nature fully be appreciated, but this one does not shy away. Balancing the singers with the beautiful and lush onstage orchestra conducted by Alan Williams, it fully embraces the moments of rock such as “Oh, What a Circus,” but appropriately pulls back for the quieter, more emotional moments. 

As previously mentioned, Fabian Aloise’s energetic and incredibly physical choreography was a highlight of the show and really gave it its personality. It was very seductive, especially during the tango during “I’d Be Surprisingly Good for You” as tensions built between Eva and Juan, capturing their overwhelming emotions for each other. Another standout moment was “Rainbow Tour,” which saw the ensemble become an entourage, cheering her on as she makes her way across Europe. Aloise’s work injected so much energy into the production, revitalizing some of the numbers that began to drag through multiple styles, capturing the mood of the moment and building upon it. 

Evita at the London Palladium

Of course, one of the most talked about moments from this production is the most famous number of the show: “Don’t Cry For Me Argentina.” Even before previews began, there was already some discourse around the staging of this number, which, similar to Sunset Blvd., saw Zegler exit the theatre and sing the song on the balcony of the London Palladium to an assembled crowd of onlookers, which is then live streamed back into the theatre. While many ticket buyers were frustrated that the most famous song of the show was not being sung to them and wrote it off as Lloyd simply repeating a tried and true gimmick, there was a meaningful purpose behind this. Every night before the second act begins, a crowd of hundreds gathers below on Argyll Street and records it on their phones. It represents how Eva’s image was built through her media appearances and only what the public saw. Audiences see only the radiant public figure in her classic gown. By the time she reappears on stage, she’s back in her top and shorts, looking less like the image the public remembers.

This production perfectly captures how Evita resonates with the current political climate and speaks to a younger generation experiencing the story for the first time. The one real shortcoming of this revival lies in that same realm: a lack of narrative clarity. While the minimalist staging offers striking visual symbolism, it may challenge newcomers unfamiliar with the story, leaving some audience members uncertain about specific plot points or scene locations. Aside from that, however, Evita is a brilliant example of what a revival can be—a reimagining of a classic through a modern lens. And when Jamie Lloyd is at the helm, it’s sure to be just that.

4.5/5 stars

2 hours and 10 minutes, one interval

London Palladium

Through September 6, 2025