This Dazzling Production Deserves its Flowers as the Theatrical Event of the Summer – 5 Stars

words by Kate South

On Tuesday 29^th July I had the privilege of watching Jamie Lloyd’s latest musical theatre revival Evita at the London Palladium, starring Rachel Zegler as the titular lead. The seats my friends and I paid £25 for each were in row E of the theatre – thank you, under 30s ticket schemes! Being that close to the action meant we could really pick up on every nuance, every move and every knowing look from the cast. The entire production radiated with energy; the pace never letting up in an incredibly physically and emotionally exhausting show. It was fab-u-lous.

The set is stripped back, and yet the spectacle is immense. Echoing Lloyd’s 2019 Regents Park Open Air Theatre production, the set featured raised stairs, providing levels on which we could clearly see Fabian Aloise’s excellent choreography. Upstage, letters spelling out EVITA in big lights dazzled the audience. For the iconic balcony scene, which in this production is famously performed on the balcony of the London palladium to members of the public, is live streamed and projected into the theatre on a large screen that is lowered down at the start of Act 2. A special shout out must go to the lighting and sound design for this production. This was the best sounding West End show I have been to in a while, and the use of lighting created both spectacle and subtlety in different parts of the show, including the blinding lights on Zegler’s first entrance to her dwindling spotlight as she succumbs to her illness.

 From the very first number we see Aloise’s electric and highly intentional use of choreography. Highlights include the fan favourite number “Oh, What a Circus”, as Eva Peron increasingly struggles to ‘control’ the Argentinian people as she leads them in mourning her own death, creating a microcosm of her life and the decline of Peronism. Other highlights of choreography come surprisingly from “The Art of the Possible”, which is usually a bit of a snooze-fest. Through clever direction and one exceptional dancer, the number transforms into a visual depiction of political violence. The dancer became a ‘gun for hire’ soldier, who one by one kills politicians by pointing at them. This prompted showgirls to pop balloons filled with glitter, as the men fell to the floor. It was highly conceptual but so captivating that it became a highlight of the show for me. It also worked narratively, as the power of money is established when we are introduced to dictator Juan Peron, who escapes the bullet by paying for the dancer to kill another man instead, leaving him the last man standing. The choreography throughout this show is a triumph, and Aloise certainly deserves his flowers.

The stars of the show are undoubtedly Rachel Zegler and Diego Andres Rodriguez who plays Che, a narrator-cum-representative of the Argentinian opposers to Peronism. His name evokes the historical figure of Che Guevara, though no obvious connections were alluded to in this revival. Both vocalists are outstanding and have some great individual moments, particularly the crowd pleaser “The Money Kept Rolling In” for Andres Rodriguez. The vocal highlight for Zegler comes not only from her expert rendition of “Don’t Cry for Me Argentia” (which gives both Page and LuPone a run for their money) but also from “Rainbow High”. This number is slightly more stripped back, with fewer dancers but incredible strobe lighting and rock-inspired re-orchestration. Zegler proves time and time again in this production she is a vocal powerhouse, and never is her star-quality more apparent than this showstopper. While Zegler is already an established star of the stage and screen, no doubt we will be seeing more of Andres Rodriguez in the future as the breakout star of this production.

While the principal cast dazzles, where this show truly shines is the ensemble numbers where every element of production comes together. The first of these moments comes from “A New Argentina”, where I can honestly say I sat with my mouth open in awe for most of it. The song features the most technically challenging vocals of the show, and Zegler makes it look easy. Her vocal performance is met with some epic choreography and excellent use of props, as the ensemble waves Argentine flags while singing for their lives. Just when we think it can’t get any more spectacular, they release the confetti canons. It was incredible, with many audience members giving the number a standing ovation.

Another standout moment for me was “The Rainbow Tour”. The dance was so fun to watch, and the cast looked like they were having a blast. One ensemble member absolutely sent me with his facial expressions, as celebrations became increasingly forced as the once indestructible Eva began slowing down. This is the joy of theatre: the little things you can pick up on from individual performers, as well as the effect of the whole company coming together in full force. This is the genius of Lloyd’s artistic vision. To take a beloved musical, to do something quite radical with its staging, and to turn some of the weaker numbers such as “Rainbow Tour” and turn it into a highlight is creativity par excellence. The show was well deserving of its standing ovation.

While I would advise audience members to do their homework on Eva Peron before attending, this show was undoubtedly THE theatrical event of the Summer. Celebrities of all kinds have been spotted in attendance, including Olivia Rodrigo, Charley Marlowe, Jimmy Carr and Sarah Paulson, and with good reason. Next time a Jamie Lloyd production graces the West End run, don’t walk, and keep an eye out for under 30s ticket schemes! Oh, what a show.

Evita is running at the London Palladium until September 6th.

photos by Marc Brenner