Review: Evita (London Palladium)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

You would have to have been living under a rock for the past few years to have missed the response to Jamie Lloyd’s production of Andrew Lloyd Webber’s Sunset Boulevard. About to wrap up its run on Broadway after an acclaimed season in the West End, winning a handful of Tony and Olivier Awards for its trouble, the question of “so what happens now?” has been asked. So attention turns to the pair’s next collaboration… although technically this one came first. As Jamie Lloyd brings us a new Argentina, will this production leave the audience high-flying and adored, or will they be crying for all the wrong reasons?

First produced in the West End in 1978 and on Broadway the following year, Evita has been revived multiple times in the decades since, last seen in the West End in a concert production in 2023.  Jamie Lloyd’s production was first seen at Regent’s Park Open Air Theatre in 2019 and now opens at the Palladium in a reimagined version, retaining elements from that original production while bringing something new to the mix. The musical charts Eva Perón’s rise from poverty to become the most powerful woman in Latin America and a symbol of hope to many Argentines.

While the strengths of Andrew Lloyd Webber and Tim Rice’s musical speaks for itself, it is in how director Jamie Lloyd reimagines and reinterprets the story that is the real talking point in this production. While his style is distinctive, it has also proven incredibly divisive, and his take on Evita is sure to be no exception. I fully expect there to be people out there to have an extreme reaction to this one way or another, be it love or hate. As for me, I fall into the former camp.

Full disclosure, though I have always had a real love for Sunset Boulevard, both pre-Jamie Lloyd and his version of it, Evita has never been a show I’ve had an overwhelming fondness for. In the various productions I have seen in the past, I have always had a fairly pleasant experience, but never felt any sort of connection or overwhelming response. That has all changed now, What Jamie Lloyd has done with this story and this production is nothing short of miraculous. Every creative choice floored me and connected like the story never has before - the thought that kept going through my mind was “Jamie Lloyd is a genius”.

Some are bound to disagree with that statement, and that is the beauty of theatre. Indeed, I haven’t always loved every production Jamie has done in the past, but this is him at his best. Where he has his signature style of a minimalist approach and video screens, attempts to pigeonhole or declare him a one-trick-pony are met with his ability to mix things up and not rely on his tried and tested tropes that some have labelled gimmicky, In this production, Lloyd has taken the urgency of the story to create a more gritty Evita that doesn’t attempt to gloss over the darker moments in the story - instead, it amplifies these, creating a new Argentina like we have never seen before.

The magic Lloyd made with choreographer Fabian Aloise on Sunset Boulevard has not just been matched with their continued partnership on Evita, I dare say it has even been bettered. With meticulously directed scenes and choreography that is inspired, creative, and electric, it leads to some of the most incredible sequences I have seen in a musical in a fair while. Think you know how iconic numbers ‘Buenos Aires’ and ‘A New Argentina’ should be staged? Think again. This Evita rips up the rulebook and puts a fresh coat of paint on the story, with those two Act One numbers resulting in mid-show standing ovations, and deservedly so. Skillfully choreographed, the action builds and builds to a genius level… and then continues past that. Where Aloise has received acclaim for his work in the past, this takes it up to a whole new level, with ‘And The Money Kept Rolling In’ an unexpected yet undoubted highlight in Act Two, thanks to his intricate and striking work.

Though Evita is as minimalistic as you would expect from a Jamie Lloyd production, Soutra Gilmour’s set design provides a fitting setting for the action, with Jon Clark’s gorgeous lighting transforming the stage throughout, including an inspired touch in a beautiful ‘Another Suitcase In Another Hall’ where every choice from lighting to choreography to direction was meticulously thought out, adding to the storytelling nature of the song and providing one of the standout performances of the show. This production of Evita is loud and proud, and while the volume is blistering at times, it is always crystal clear thanks to a fantastic use of sound design from Adam Fisher.

You will have no doubt come across the moment everybody is talking about in this production of Evita, and that is, of course, ‘Don’t Cry For Me Argentina’. The choice to have Eva (Rachel Zegler) perform it on the balcony of the Palladium to a gathering crowd outside on Argyll Street has had a, shall we say, mixed response. Some argue audience members are being short-changed by not witnessing the show’s biggest and most iconic number in person. Where you have likely seen countless videos of the moment outside, how does it translate to the audience inside the London Palladium? Well, it certainly is a moment. In fact, it is THE moment.

Just as the title number in ‘Sunset Boulevard’ changed the game and provided an excellent blend of theatre and cinema with incredible cinematography, ‘Don’t Cry For Me Argentina’ raises the game significantly. Audible gasps could be heard around the audience as the music kicked in to a shot of Zegler spliced with the live footage of the sizeable crowd outside. As live footage goes from various angles of Zegler to the crowd and fades to reveal the live band on stage, it adds to the scale of the number, feeling very grand and adding significance and even poignancy to the performance. Rather than feeling short-changed, I felt a sense of bliss having experienced one of the greatest musical theatre songs of all time delivered in the most powerful way I had ever witnessed. Yes, ‘Don’t Cry For Me Argentina’ is the moment - the greatest moment in musical theatre you will see this year. It is one of those moments where the stars align to create true theatre magic, and this is a performance I will remember forever.

Though known to many for her various screen roles, Rachel Zegler makes her long-awaited West End debut in the lead role of Eva Perón. A little touch of star quality would be a serious understatement in how to describe her breathtaking and bold take on the character. Zegler has a presence that is always felt on stage, even when her character is sat there saying nothing. There is a real intensity in her facial expressions that captivated me throughout. When she does open her mouth to sing, however, the result is absolutely heavenly. A truly gifted performer, her take on ‘Don’t Cry For Me Argentina’ is up there with the very best, but this is far from a one-song show, as proven with her rousing take on ‘You Must Love Me’. Through incredible acting and overall performance, it really does feel like a star has been born on that stage. Where Nicole Scherzinger bagged herself an Olivier award for her portrayal of Norma Desmond, don’t be surprised if Zegler follows suit next year. One thing’s for sure - the sky’s the limit for this sensational talent - her Perón really is a performance for the ages.

Diego Andres Rodriguez gives a thrilling portrayal of Che, bringing the house down with his vocals on ‘High Flying, Adored’ and becoming more chilling with his darkly whispered tone towards the show’s climax. James Olivas gives a confident turn as Juan Perón, while Aaron Lee Lambert has a standout performance as ‘On This Night Of A Thousand Stars’, with Bella Brown delivering a stunning take on ‘Another Suitcase In Another Hall’. Due to the nature of Lloyd’s direction and Aloise’s choreography, Evita is a show that puts all of the ensemble through their paces - the result is a finely tuned and flawless cast, all of whom wow at every turn.

I must admit to being sceptical when it came to how much I would love Jamie Lloyd’s take on Evita. Though it would be impossible to completely match the dizzying heights of Sunset Boulevard, it comes pretty close. Bringing Lloyd’s signature style with something fresh, this is the perfect example of how Lloyd can breathe new life into a classic show in his own inimitable way, leading to the rockiest version of Evita you will ever see. The result is a continually surprising and always captivating production that always looks and sounds faultless. Its impressive ability is matched by that of Rachel Zegler’s career-defining characterisation in one of the best performances you will see in the West End this year. The result is theatre at its very best. 

Jamie Lloyd really has done it again - with multiple standing ovations on press night and a post-show applause that seemed to last forever, this was one of those nights I will always remember, as an enraptured audience had their breath taken away by an experience like no other. As Zegler uttered the words “You must love me”, there really was no argument from me - I loved every single thing about this inspired and innovative production. On this night of a thousand stars, I would give this production that many if I could - for now, I’ll settle for a hard-earned and well-deserved five stars.

Evita plays at the London Palladium until 6th September. Tickets from https://allthatdazzles.londontheatredirect.com/musical/evita-the-musical-tickets

Photos by Marc Brenner