Yes, She’s on the Balcony—And It Works
Let’s address it: Don’t Cry for Me Argentina happens outside. Rachel Zegler steps onto the Palladium balcony, singing to Soho, while the moment is broadcast live inside the theatre. For those of us inside, the moment feels no less ‘live’ or electric. It’s broadcast in real time on soaring screens, transforming the theatre into something almost operatic. She’s not leaving the building—she’s expanding it, and you’re not missing the moment; you’re witnessing it amplified.
Rather than feeling excluded, I felt that the audience inside became co-conspirators in something bigger—proud observers of a spectacle that bursts out of the theatre walls and floods into the streets. And when Zegler returns to the stage, there’s an almost giddy intimacy: we’ve seen her command the city; now we get her up close again. The grandeur outside makes the hour that follows feel even more intimate. Honestly? It’s a stroke of genius. The scale, the symbolism, the sheer drama of it—it doesn’t lessen the moment; it magnifies it.
Zegler is Mesmerising
Zegler is magnetic. You cannot take your eyes off her. With soaring vocals and emotional depth, she captures both the steel and the soul of Eva. Her performance brings nuance to a woman so often flattened into myth. Glamorous, yes—but also gritty, conflicted, and burning with ambition. She doesn’t ask for your sympathy; she commands your attention from the jump.
A Revival That Dares to Challenge
This Evita is not interested in nostalgia. It peels away the pomp to ask tougher questions: What is political performance? What’s the cost of glory? The ensemble feels like a collective force—more Greek chorus than backing dancers—framing Eva not as a heroine or villain, but as a woman navigating a world built to worship and destroy her in equal measure.
And don’t worry, beyond the iconic Don’t Cry For Me Argentina, all your favourites are still present and correct, like Buenos Aires and Another Suitcase in Another Hall, crafted by legendary duo Tim Rice and Andrew Lloyd Webber. And, just you wait, the choreography is inspired!
A Show That Sparks Conversation
Is it polarising? Absolutely. Ambitious? Undeniably. In a sea of safe revivals, this Evita boldly pushes boundaries with Jamie Lloyd’s signature touches: giant screens, minimalist sets, rooftop cameos, rivers of stage blood, streetside serenades — and, of course, a wardrobe stocked full of black boxer briefs and enough confetti to carpet the West End.
With Rachel Zegler’s star turn anchoring it all, Evita just became the show of the summer. Playing for a limited run until Saturday 6 September. Book your tickets now.
P.S. Seriously, who’s in charge of ordering 100 pairs of black boxers, 20 litres of stage blood, 500 balloons, and all that confetti? I just really want to see the Finance team roll their eyes when these receipts casually get emailed in.