Evita at the London Palladium
★★★★★
Jamie Llyod has done it again! Yet another captivating and fresh take on a classic. Jamie Lloyd has returned to the land of Andrew Lloyd Webber musicals with his take on Evita in the style of a rock concert. Going in uninformed, I was unsure of how this staging would translate when being used to show a classic musical, but I was delighted to see how well it worked and how engaging a set simply made of stairs could be when watching performers utilise it to its full ability.
*POSSIBLE SPOILERS AHEAD*
Content Warnings:
There were warnings on display at the theatre which stated that the show contained:
Flashing Lights
Loud Sound Effects
However, upon watching Evita, I quickly realised that these warnings were not detailed enough, and I made note of other potential warnings, which are as follows:
Loud Noises
Very Strong Bass
Strong Language
Haze
Strobe
Balloon Popping
Confetti - excessive amounts fall from the ceiling
Partial Nudity
Suggestive Dancing
Fake Blood - the front row is at risk of having fake blood and paint splashed on them
Depictions of Medical Treatment - a character is visibly injected
References to & Depictions of Death
References to & Depictions of Military Control
References to & Depictions of Prostitution
References to & Depictions of Coercion
Depictions of Violence
My Review:
Summer 2025… the summer of Evita! After seeing all the hype for Jamie Lloyd’s Evita, I was so excited to be able to see it before its run ended, and all I can say is that this production surpassed any expectations that I had for it. Having previously seen Sunset Boulevard, Romeo & Juliet, and Much Ado About Nothing, I went in feeling well-versed in the stylistic choices of Jamie Lloyd, and whilst this show was still flowing with his specific directorial flair, it also felt fresh and exciting. A true standout of the production as a whole for me was the choreography, as upon seeing the stairs, I was not sure of what to expect. The choreography by … and the talent of the entire ensemble left me awe-struck and forever wanting more of the dynamic and engaging choreography that supported and complemented the entire performance.
Rachel Zegler is a true star of the ages, and she shone as bright as the star of the Argentinian flag on that stage. Not only is her voice simply divine to listen to, but her mannerisms and expressions elevated her performance to a new level. I was left captivated by her portrayal of Eva Perón, the First Lady of Argentina, from start to finish. Her performance is considered and shows Eva Peróns decline in health as she tries to hide from those around her, including the audience, until she eventually succumbs to it. Rachel Zegler is a joy to watch throughout; however, her talent truly shone for me during A New Argentina and Don’t Cry For Me Argentina. The use of the Palladium’s balcony was captivating and immersed both internal and external audiences into the show, giving a glimpse into the speeches given by Eva Perón to the descamisados during her time as the First Lady of Argentina. Jamie Lloyd’s use of the balcony was inspired, and the power I felt watching that scene in the audience, especially as it panned to external spectators and the ensemble, was indescribable and highlights the power of live theatre when used to its full potential.
Diego Andres Rodriguez perfectly counters Rachel Zegler as the narrator, Che. He guides the audience through her life and is a constant presence, reminding the audience of the lengths she went to obtain power and the shadows that would hang over Eva Perón for her life. His performance during Goodnight and Thank You was comedic and powerful, showing his immense vocal range while also giving a glimpse into the lighthearted side of Eva Perón and Che as they slowly dismiss those who have been of use to her with increasing creativity. Waltz for Evita and Che was a fabulous performance from both Rachel Zegler and Diego Andres Rodríguez, highlighting the talent of both performers when considering acting through song as they perfectly bring their characters to life and counter each other. Diego Andres Rodrigeuz has a wonderful voice with a softness and power to it, allowing him to convey the many emotions of Che as the story progresses until his end, which is as powerful as it is eerie and haunting to watch. His performance of the final moments as Che captivated me, and his facial expression during this scene was unmatched, with the ability to show nothing and everything simultaneously fueling the horror and discomfort that the audience should feel regarding his untimely end.
Despite being a constant presence from start to finish, the audience does not meet Perón until his duet, I’d Be Surprisingly Good for You, with Rachel Zegler. James Olivas commands attention as the future leader of Argentina, Juan Perón. His performance explains how Eva Perón was drawn in by his kind exterior, but highlights his affairs, which are starkly shown by the appearance of a new mistress in the background as the audience watches Evita’s end in the forefront. This is made more emotional due to being accompanied by Rachel Zegler's heartbreakingly beautiful rendition of You Must Love Me. James Olivas shows the power of Juan Perón and his ability to appeal to and command the people of Argentina. He does this by captivating the audience's attention and holding it throughout the performance following his ascent to power. I particularly enjoyed the clear transition from his hesitancy to complicity and later leadership, beginning just before and leading in to A New Argentina.
Aaron Lee Lambert plays Agustín Magaldi, who has the privilege of being the first man to be of use to Eva Perón. His rendition of A Night of a Thousand Stars was spectacular, especially his long note on/off the microphone, showing not only the power of his voice but also his control over it. His character is significant in showing how Eva Perón is willing to do whatever it takes and use whoever she has to use to achieve her goals, as these traits are first seen in her interactions with Agustín Magaldi, but continue to act as a driving force for the rest of the story. Aaran Lee Lambert’s hesitancy and portrayal contrasts and complements the determined Eva Perón we see at the start of the show and throughout he acts as almost a voice of reason, highlighting the lengths to which Eva Perón will go in her pursuit of success.
Bella Brown stuns as The Mistress and is also the alternate for the role of Eva Perón. After having seen her perform in Hadestown, I knew she had a wonderful voice, and it was a privilege to be able to hear her sing again in this show. She has a bright future ahead of her, and I cannot wait to see what she does next as she is certainly one to watch. Her rendition of Another Suitcase In Another Hall was soft yet heartfelt. Bella Brown’s ability to have so much storytelling and emotion in just one song adds to the power of the moment and highlights the innocence of her character.
Ffion Rosalie Williams portrays The Child with wonderful comedy and performance. Her characterisation brought a humour to this moment which complemented rather than undercut the general tone of the piece and allowed a more lighthearted side of Eva Perón and the show in general to shine through. Past her performance, Ffion Rosalie Williams shone with her solo that acted as the lead into Santa Evita. Her performance was made all the more impressive as Evita was Ffion Rosalie Williams’ professional debut.
The ensemble is made up of Carl Au, Gabriella Benedetti, Shakara Brown, Damian Buhagoiar, Kyeirah D’Marni, Sally Firth, Deangelo Jones, Lucas Koch, Natasha Leaver, Michael Lin, Dianté Lodge, Louis Mackrodt, Mireia Mambo, Mia Mullarkey, Perry O’Dea, Alysha Sontae, Monica Swayne, Jon Tsouras, and Harrison Wilde. The swings are Myla Carmen, Barney Hudson, Nathan Louis-Fernand, Kirsty Anne Shaw, Ricardo Spriggs, and Regan Bailey Walker. They all contribute to the show wonderfully, especially with regard to their performance of the choreography, which gives Evita an immersive, almost concert-like feel to the show. The ensemble performs with absolute precision, not missing a single mark, and this is made all the more impressive due to the set being stairs. The skills showcased in the dancing abilities of the Ensemble, especially when factoring in that they are dancing and performing lifts whilst utilising stairs, added to the overall Star Quality and impact that this show has.
I feel so lucky to have been able to see this show over Summer 2025, or as it will forever now be known, Evita Summer, and this is a piece of theatre which I will still be thinking about and impressed by for time to come. Should this show return in any form, which I hope it will, I cannot urge you enough to try and see it, as it is truly one of the most impressive pieces of recent theatre that I have seen.
Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)
- AnxiousTheatregoer
