Oh what a circus, oh what a show! Jamie Lloyd’s Evita at the London Palladium is a bold, high-octane reimagining of the classic musical that pulses with energy and theatrical flair. With his now-signature (perhaps overused) style of minimalist set, sparse costumes, onstage cameras, enough confetti-to drown you, and a curtain call featuring a lead actor in his pants—Lloyd delivers a production that’s visually arresting and musically exhilarating. But in its relentless drive to innovate, it occasionally sacrifices storytelling for spectacle.
Rachel Zegler, making her West End debut as Eva Perón, is a magnetic performer with undeniable stage presence. Her Eva is all fire and flash, more pop diva than political operator. While her physicality is commanding, there’s no shortage of hip swivels and pelvis thrusts, her characterisation lacks depth. Spending much of the show in her bra, Zegler’s Eva feels more like a symbol than a fully realised character, and the production doesn’t give her enough space to evolve. The result is a portrayal that’s compelling to watch but emotionally elusive.
The pacing contributes to this. The show barrels through key moments in Eva’s rise and fall, often feeling rushed. Transitions are swift, and scenes sometimes blur together, leaving little room for the emotional beats to land. The storytelling feels fragmented, as if the production is more interested in momentum than meaning.
That said, there are moments of brilliance. Chief among them is Diego Andres Rodriguez’s phenomenal turn as Che. His performance is nuanced, powerful, and vocally superb, he brings a moral centre and emotional intelligence that anchors the entire production and is easily the standout of the evening. James Olivas also impresses as Juan Perón, offering a calm, authoritative presence that balances the surrounding theatricality.
Fabian Aloise’s choreography is a triumph. It’s the heartbeat of the show; dynamic, inventive, and executed with thrilling precision. It’s arguably the best work of his career and elevates every scene it touches.
The decision to stage “Don’t Cry For Me Argentina” on the theatre’s balcony rather than inside initially feels like another gimmick, a rehash of Sunset Boulevard and Romeo and Juliet which both featured similar stunts. But, it’s actually incredible, handled with such grace and poignancy that it becomes one of the production’s most moving moments.
The lighting design, which often evokes the atmosphere of a rock concert, adds to the show’s electric energy, while musically, the production is a knockout. The onstage orchestra, under Alan Williams’ direction, brings Andrew Lloyd Webber’s iconic score to life with richness and clarity in a whole new way. It’s a sonic feast that reminds us why Evita remains a cornerstone of musical theatre.
This Evita is not without its flaws, it’s rushed, flashy, and sometimes narratively thin, but it’s also thrilling, stylish, and full of theatrical bravado. Jamie Lloyd’s vision may divide opinion, but it’s never dull.
