Even as someone who has special childhood memories tied to the show, I can admit Evita is a flawed work. It’s more rock opera than book musical. The politics can get a bit muddled. And the final quarter has always been its weakest link. Oh, and if interpreted a certain way, it can be viewed as celebrating a populist, borderline-fascist figure. But the Andrew Lloyd Webber/Tim Rice work also sets out to expose her.
In his latest reimagining of a Lloyd Webber classic, Olivier Award-winning Sunset Blvd director Jamie Lloyd does his best to unmurk most of the politics and punch out the best moments of the finale. And he gifts us with a protagonist who is heroine, demon, goddess-wannabe and hurt child. This last part is something no production I’ve seen has ever captured and it radiates throughout.
In addition, Lloyd presents us with a dark, quasi-meta Evita that speaks to today—from our obsession with celebrity (and everyone wanting to be an Influencer—don’t deny it!) as well as our preoccupation with youth. Then there’s the frightening political relevancy. This re-invention is also breathless, intoxicating and dynamic theatre at its most vigorous and passionate.
For those unfamiliar with her legend, the somewhat true story centers on poverty-stricken, but wildly determined 15-year old Eva Duarte (Rachel Zegler) who works her wily ways on unpopular tango singer Agustín Magaldi (Aaron Lee Lambert, playing up the camp). That tryst lands her in Argentina’s “big apple,” Buenos Aires, where she takes the town by storm. She then beds a host of influential men, on her way to the one that will change her life, Juan Perón (James Olivas), the future president/dictator of Argentina.
In the number “I’d Be Surprisingly Good for You,” both Eva and Juan discuss just how they can enhance one another’s lives. The sexual tension is palpable but so is the genesis of the cementing of the kind of power couple rarely seen in world politics. And Lloyd and choreographer Fabian Aloise (also responsible for those sexy Sunset Blvd moves) punctuate the sensuality with a simultaneous alter-ego tango.
The story, which mostly takes place in the mid-1930s through Eva’s untimely death at 33, in 1952, then focuses on Eva and Juan’s rise to power. But Lloyd’s show has an eternal feel to it, as did Evita to her worshipping followers.
The sometimes-non-linear proceedings are narrated by the initially hopeful and spirited, but increasingly vexed revolutionary, Che, based on Che Guevara. He is given less of a resemblance to the actual Che from any production before. Diego Andres Rodriguez, so moving as Artie in Lloyd’s Sunset Blvd, channels all his inner angst, contempt and, sometimes, empathy, as our suffering narrator. This is a star making turn by Rodriguez, who, like Tom Francis’s Joe in Sunset, ends up stripped of dignity, freedom, and most of his clothes, by the production’s end. Note: Eva’s costume, before the white balcony dress, is uber-reminiscent of Betty Schaefer’s black leather Sunset wear.
One of the many things this production does keenly and superbly is show the seductive allure of fascist leaders who promise to fix all woes by bulldozing the status quo that has made life so miserable, yet the people rarely stop to wonder if these bullies really give a damn about them. And the end result is always catastrophic—especially for the working class (Eva’s descamisados.)
Webber’s touching, propulsive, explosive score (arguably his best) is honored here by musical director Alan Williams. From the giddy heights of Evita’s early years to the devastating realization that her short but impactful time on earth has come to a close.
The entire energetic ensemble is to be commended for their talents, robust moves and unstoppable energy.
Rachel Zegler is everything you’ve read and more, from her giddy, ghostly entrance at the onset of the show to her poignant final moments, Zegler’s Evita is rock star, madonna, whore and goddess all in one. It’s a bravura performance, another one for the ages (with a bow to the queen, Nicole Scherzinger.)
Zegler captures Eva’s initial precociousness which turns almost-instantly, rabidly ambitious. Her Eva is hyper aware of her sexiness and the command she holds over men and is willing to use it—on her terms. But as she ascends, she transforms into “the lady of them all” right before our eyes, a woman who (allegedly) fights for the people, fights to stay in power and, ultimately tries to fight God for more time. She’s a savvy politico as well as the hubristic Mother Eva.
Zegler’s two highlights (if I must only choose two) are “Buenos Aires,” where Eva’s experiences her first delicious taste of the big city she will soon conquer, and the spectacularly staged “Rainbow High,” where Eva prepares for her world tour. “You’re not decorating a girl for a night on the town,” She bellows, “And I’m not a second rate queen getting kicks with a crown.” Look out, Europe!
Olivas is a most handsome Juan Perón. Yes, it’s initially jarring to see such a young, tall dude (and boy is he tall) in the role, but he quickly begins to make incredible sense opposite Zegler’s Eva. Olivas has charm to spare, a wonderfully sweet voice and, mercifully does not don an accent (actually most everyone speaks with American accents). Olivas also knows when to show Perón’s ruthlessness and might. And key to this production’s success is that we also can sense just how devoted he is to his wife.
All three leads have a ridiculous amount of charisma, sex appeal and…”star quality.”
Bella Brown seizes her moment and captivates as Perón’s ill-fated mistress with “Another Suitcase in Another Hall.”
Besides the costumes (by Soutra Gilmour, who also did the effective sets), Lloyd also borrows liberally from his recent Sunset triumph when it comes to anachronisms and movement as well as stripping the show down to it’s barest essentials, which, once again, works magnificently.
And he manages to breathe new life into certain numbers. “The Art of the Possible” is exceptionally reimagined from Harold Prince’s 1979 musical chairs staging. The sequence shows just how random the selection of political leaders can be. Here, we have a host of hopefuls lined up, looking downright frightened, as a commanding female soldier (Mireia Mambo) marches around stabbing balloons (and, figuratively, each soldier) until only one remains—after a generous donation. The scene speaks volumes.
And the added Oscar-winning song, “You Must Love Me,” is shatteringly performed and staged with Zegler and Olivas delivering devastating turns, the latter by simply reacting.
For those who are making a big fuss on social media about how the most famous song from the musical, “Don’t Cry for Me Argentina,” is delivered to an outdoor, non-paying crowd instead of the audience, they clearly have not seen the show and/or do not understand the concept and ingenuity of Lloyd’s vision. Eva was ostensibly all about her descamisados, so it’s terribly fitting she would proudly and prominently address those less fortunate, than cow-tow to the wealthy. It’s also a massive middle finger to the “middle classes” who Eva always despised for making her illegitimacy a negative stamp on her life.
And it segues perfectly into her singing her part of “High Flying Adored” via a dressing room mirror. The actress may not have learned the lines you’d like to hear but she knows exactly what her people want to see—and so does Lloyd.
My only real issue with this Evita is that the actors (especially Rodriguez) are often directed to steamroll through many of Rice’s cutting and funny lyrics, which does the audience and the material a disservice. A pause and nod here and there might just bring more of an appreciation to the humor in the show and the nasty social and political bits.
In the Act One tour de force, “A New Argentina,” everyone lets loose and Eva shows her true muscle, strength, rage and ambition, while Juan muses, “It’s annoying that we have to fight elections for our cause, the inconvenience, having to get a majority. If normal methods of persuasion fail to win us applause, there are other ways of establishing authority.” Those lines scarily resonated, especially with today’s totalitarian wave in many western countries. Ready or not, Broadway, here comes one of the most intense, spirited and timely shows you will experience. It’s also an absolute blast!
Evita has been extended through September 6, 2025 at the Palladium in London.
https://www.evitathemusical.com/
Astonishing production, saw it three times. Great to read about it here.