Evita by Tim Rice and Andrew Lloyd Webber – ★★★★☆

This high-energy revival of Tim Rice and Andrew Lloyd Webber's Evita delivers spectacular performances that compensate for significant storytelling shortcomings, creating a production that entertains even as it frustrates.

Andrew Lloyd Webber's biographical musical chronicles the meteoric rise of Eva Perón from Argentine actress to beloved First Lady through her relationship with Colonel Juan Perón and her championing of the working class. The story follows her ascent to political power and tragic death at 33, narrated by the cynical Che who serves as both observer and conscience of the Argentine people.

The production opens powerfully with a solo Che on stage, proclaiming Evita's death, before backstage lights reveal the letters EVITA and Rachel Zegler appears. Her commanding presence and the spotlighting immediately capture attention and the anticipation feels like we’re attending Eva Perón's farewell tour. Jamie Lloyd creates a genuinely immersive experience, with stellar choreography by Fabian Aloise that seamlessly fuses Latin music and instruments with modern and contemporary dance moves—a fusion that proves genuinely delightful and enhances the experience considerably. However, the live orchestra occasionally overshadows the acting and singing, creating a concert-like atmosphere rather than cohesive storytelling. This sensation reaches its peak at the end of Act 1 during "A New Argentina," when the audience is showered with blue and white confetti—it remains narratively unclear whether Perón has already won the presidency or is still campaigning for it.

The production wrestles with themes of political ambition, populism and personal sacrifice against the backdrop of 1940s Argentina. When the show engages with Eva's politics and personality, it succeeds brilliantly. The production effectively explores her political ambition, her strategic use of sexuality and sensuality to ascend to power, and how she was perceived before reaching high office. It becomes crystal clear that she was for the people, by the people and of the people. The show explicitly addresses Eva's contributions: her charity work and nationalisation policies, as well as the broader success of Perónism, though these remain some of the few explicit engagements with the political climate. The line “why try to govern the country when you can become a saint" in “Santa Evita” perfectly encapsulates how she's remembered and how she behaved during her time in office.

Rachel Zegler proves herself the undeniable star of this production. Her performance of "High Flying, Adored" is nothing short of breathtaking, displaying remarkable talent in embodying Evita and making the character entirely her own. Zegler's performance is so captivating that it allows audiences to overlook the production's storytelling shortfalls and questionable artistic choices. The ensemble cast proves equally stellar, with particular standouts including Aaron Lee Lambert as Agustín Magaldi, bringing delightful comedy and flamboyance to the role and James Olivas as Juan Perón, who delivers machismo and compelling sexiness.

The use of Che as narrator and representative of the Argentine people represents an obvious but effective directorial choice. Whilst a more subtle approach to journeying through Eva's life might have been preferable, the character and actor remain standouts, particularly in a powerful scene where Che appears murdered, blood-covered then paint-splattered in blue and white—a brilliant visual metaphor representing the violence and repression Juan Perón's government used against political dissidents and opponents.

The second half's opening presents particular challenges, especially during "Don't Cry for Me Argentina." Whilst the integrated technology demonstrates innovation, it creates a fundamental disconnect. The theatre audience becomes the Argentine bourgeoisie, whilst the crowds Rachel Zegler addresses outside Casa Rosada represent the Argentine public. This robs audiences of the opportunity to fully experience arguably the musical's most famous song, creating distance when the moment should provide intimacy.

The production proves difficult to follow, particularly for those unfamiliar with Argentine history, lacking the cohesive narrative thread that would make Eva's journey truly compelling. Songs occasionally become indistinguishable from one another, blending together despite the performers' consistently high energy. The directorial choice to prioritise spectacle over narrative coherence means that whilst audiences remain thoroughly entertained, emotional investment in the story suffers.

Despite significant storytelling shortcomings and repetitive musical moments, this production succeeds through the strength of its performances, particularly Rachel Zegler's star turn, and its infectious energy. The production functions as both a celebration of Eva Perón's legacy and a showcase for extraordinary musical theatre talent, even if it doesn't tell us the actual story of Evita.

Evita is showing at London Palladium until 6th September.