At 2:45 PM on Monday, June 16, 2025, a bombshell has rocked the theater world as reports surface that Rachel Zegler, the 24-year-old actress known for her roles in West Side Story and Disney’s troubled Snow White remake, has launched a scathing critique of the creators of the iconic musical Evita, labeling it “white supremacist.” The claim, emerging just days before the West End revival’s opening on June 14 at London’s Palladium, has ignited a fierce debate about artistic legacy, cultural sensitivity, and Zegler’s growing influence—or overreach—amid her polarizing career. As rehearsals intensify under director Jamie Lloyd, this controversy threatens to overshadow the production, drawing sharp reactions from fans, critics, and the industry alike.
The allegations stem from a leaked conversation during a recent rehearsal, where Zegler reportedly expressed frustration with the original script by Tim Rice and Andrew Lloyd Webber, premiered in 1978. According to sources close to the production, she argued that the portrayal of Eva Perón, Argentina’s controversial first lady, reflects a “white supremacist lens,” citing lyrics and narrative choices that she believes diminish Eva’s agency and perpetuate colonial stereotypes. Specifically, she pointed to lines like “They need to adore me, so Christian Dior me” and the focus on Eva’s alleged exploitation, suggesting these elements frame her as a manipulated figure rather than a empowered leader. Zegler’s comments, if accurate, align with her history of challenging traditional narratives, but they’ve sparked outrage given the musical’s global acclaim and the creators’ stature.
Zegler’s involvement in the revival, directed by Jamie Lloyd, marks her British stage debut, a move seen as a potential career pivot after the Snow White backlash. The young actress, of Colombian descent, has been vocal about her personal connection to Evita, recalling childhood singalongs of “Don’t Cry for Me Argentina” with her father. However, her critique suggests a deeper intent to reshape the story. Sources claim she’s pushed for rewrites to emphasize Eva’s social reforms—such as the Eva Perón Foundation—over her controversial traits, like ambition and rumored affairs. Lloyd has acknowledged “collaborating to reimagine the narrative,” but the “white supremacist” label has escalated the discourse beyond mere adaptation.
The timing couldn’t be more charged. Zegler’s Snow White remake, released earlier in 2025, underperformed at the box office, with insiders blaming her outspoken political views— including support for Palestine and criticism of Trump supporters—for alienating audiences. Her casting as a Latina Snow White drew racist attacks, and subsequent comments at the 2022 D23 Expo about updating the “outdated” original plot fueled further controversy. This Evita critique, if verified, could be seen as an extension of that stance, risking her reputation further. Yet, her supporters argue it reflects a courageous stand against colonial narratives, given Eva’s Latin American roots and the musical’s British authorship.
The theater community is divided. Lloyd, known for reinterpreting classics like Sunset Boulevard, defends the adjustments as “evolving art,” but the “white supremacist” accusation has drawn ire. Tim Rice and Andrew Lloyd Webber, who retain creative control, have not publicly responded, though their silence amid rehearsals for The Illusionist and other projects suggests possible tension. Patti LuPone, the original Broadway Eva, indirectly critiqued such changes, emphasizing the script’s authenticity, while X posts reflect the split: “Rachel’s bold—time to decolonize theater!” versus “She’s ruining Evita with woke nonsense!” The debate echoes broader cultural wars, with some questioning whether Zegler’s heritage justifies her stance or if it’s a power play.
Evidence of her claims remains circumstantial. Leaked rehearsal clips show a revised “Don’t Cry for Me Argentina” focusing on Eva’s social justice legacy, but no official script changes confirm the “white supremacist” label. The original Evita, starring Elaine Paige and later Madonna in the 1996 film, portrays Eva’s rise with complexity, blending admiration and critique—her populism versus alleged charity fund misuse. Zegler’s critique might stem from these dualities, but calling it “white supremacist” lacks historical backing, as the creators drew from Argentine sources like Mary Main’s biography. This suggests her statement could be hyperbolic, possibly amplified by media or her team to stir interest in a struggling ticket pre-sale, per London Theatre Direct data.
Zegler’s career context fuels the fire. After her Golden Globe win for West Side Story, she faced backlash over Snow White, with Disney scaling back promotions amid death threats to co-star Gal Gadot over Zegler’s Palestine posts. Her “unhireable” label, per industry whispers, makes Evita a make-or-break role. The rewrite push could be a bid to reclaim narrative control, but it risks alienating purists and Madonna, whose Evita earned a Golden Globe. Zegler’s failure to acknowledge Madonna’s legacy, noted in her casting announcement, has already irked the icon, adding personal stakes to the professional clash.
The production’s stakes are high. Lloyd’s sell-out track record and affordable ticket scheme—5,000 at £25 for under-30s and key workers—aim to broaden appeal, possibly aligning with Zegler’s vision. Yet, ticket sales lag two months out, suggesting her controversy might deter audiences. The June 14 opening, with previews starting this week, will test the rewrite’s reception. Trump’s fondness for the original, cited in his 2004 book, adds irony given Zegler’s anti-Trump stance, potentially splitting the crowd further.
Critics question the narrative’s authenticity. Some see it as a PR stunt to justify Zegler’s casting amid Snow White fallout, while others suspect Lloyd’s influence, given his reinterpretation style. The lack of direct quotes from Zegler or creators leaves room for doubt—media might have exaggerated her stance for clicks. However, her pattern of challenging norms, like criticizing Snow White’s “stalker” prince, supports the possibility of such a bold claim. The risk is real: a flop could deepen her career woes, while success might redefine her as a trailblazer.
As of 2:45 PM today, June 16, 2025, the theater world braces for impact. Zegler’s alleged slam, if true, marks a provocative stand—or a reckless gamble—reshaping Evita’s legacy. It challenges the balance between honoring history and adapting to now, leaving audiences to judge if this reinvention triumphs or tanks amid a storm of praise, protest, and uncertainty.
