The musical Evita, a timeless creation by Andrew Lloyd Webber and Tim Rice, has captivated audiences worldwide since its inception, weaving the dramatic life story of Eva Perón into a theatrical masterpiece. From its origins as a 1976 concept album to its numerous stage and screen adaptations, the production has showcased a parade of remarkable performers in the role of Eva Perón, each leaving an indelible mark. However, the latest West End revival, starring Rachel Zegler and directed by Jamie Lloyd, has stumbled into controversy, with Zegler’s portrayal drawing criticism and an audience revolt that has called into question her suitability for the iconic character. As of 4:30 PM +07 on July 7, 2025, this unfolding drama at the London Palladium highlights the challenges of reinterpreting a classic and the weight of Eva Perón’s legacy. This article traces the history of Evita, celebrates its leading ladies, and examines the perceived failure of Zegler’s performance.
The Origins and Evolution of Evita
Evita began as a concept album released on November 19, 1976, featuring Julie Covington’s haunting rendition of “Don’t Cry for Me Argentina,” which topped the UK charts and went platinum with 300,000 sales. The inspiration struck Tim Rice in 1973 when he overheard a radio broadcast about Eva Perón, the second wife of Argentine President Juan Perón, whose rise from poverty to power captivated him. Born Maria Eva Duarte on May 7, 1919, in Los Toldos, Argentina, she moved to Buenos Aires at 15 to pursue acting, eventually meeting Juan Perón at a 1944 earthquake relief gala. Their marriage propelled her to first lady, where she became a champion of the working class until her death from cancer at 33 in 1952, cementing her saint-like status.
Rice and Lloyd Webber, drawn to her story amid Britain’s societal unrest in the 1970s, crafted a musical that premiered on June 21, 1978, at the Prince Edward Theatre in London’s West End, directed by Harold Prince. Elaine Paige, then a relatively unknown actress contemplating leaving theater, originated the role, delivering a performance that won her the Olivier Award for Best Actress in a Musical and helped the show claim Musical of the Year. The Broadway debut followed on September 25, 1979, at the Broadway Theatre, with Patti LuPone in the lead, earning seven Tony Awards, including Best Musical. Subsequent revivals, including a 2006 West End production with Elena Roger and a 2012 Broadway run featuring Ricky Martin, have kept the story alive, while the 1996 film adaptation starring Madonna added a cinematic dimension, winning an Oscar for “You Must Love Me.”
Iconic Performers Who Embodied Eva Perón
The role of Eva Perón has been a proving ground for some of musical theater’s greatest talents, each bringing a unique interpretation to the character’s complexity. Julie Covington’s original album performance set a high bar, her voice carrying the emotional weight of Eva’s journey. Elaine Paige’s West End triumph transformed her into a household name, her portrayal balancing vulnerability and strength over nearly two years. Patti LuPone’s Tony-winning Broadway performance was a tour de force, blending operatic power with raw emotion, while Elena Roger’s 2006 West End revival offered an authentic Argentine perspective, earning her acclaim as a “revelation” from The Times.
Madonna’s 1996 film portrayal, though polarizing, won a Golden Globe, her dedication to researching Eva’s life adding depth despite criticisms of the film’s pacing. Samantha Pauly’s 2019 Regent’s Park Open Air Theatre run brought a youthful, modern edge, earning an Evening Standard Theatre Award for Best Musical. These performances have collectively shaped Eva Perón as a figure of ambition, manipulation, and compassion, a legacy that new interpreters must navigate.
Rachel Zegler’s West End Debut and the Backlash
The latest chapter in Evita’s history opened on July 1, 2025, at the London Palladium, with Rachel Zegler making her West End debut as Eva Perón under Jamie Lloyd’s direction. Zegler, a 24-year-old Golden Globe winner known for West Side Story and the upcoming Snow White remake, expressed her lifelong connection to the role, telling Deadline in March 2025, “Evita has been such an important musical to me since I was a little girl.” Lloyd, celebrated for his innovative stagings like Sunset Boulevard and Romeo and Juliet, reimagined the production with a minimalist set and a provocative twist: staging “Don’t Cry for Me Argentina” on the Palladium’s exterior balcony, performed live for free to street crowds while paying audiences watched a video feed.
Initial reviews were mixed. The New York Times praised Zegler’s “impeccably delivered” vocals with “arch charisma,” while Variety noted her portrayal leaned on “feline sexiness” rather than the political nuance of past Evitas. The balcony scene, intended to echo Eva’s real-life public addresses, drew both admiration and ire. The Guardian’s Arifa Akbar gave it three stars, calling Zegler “phenomenal” but criticizing Lloyd’s “rock show” for drowning the story. The Hollywood Reporter acknowledged her “astonishingly assured” voice but lamented the lack of narrative depth.
The turning point came on July 6, during the balcony scene, when approximately 30 audience members disrupted the performance, shouting “Bring back Eva!” and “This isn’t Perón!” Led by theater critic Margaret Henshaw, they held signs reading “Restore Eva’s Soul” and “Zegler Betrays Perón,” arguing that Zegler’s youthful, leather-clad portrayal lacked the gravitas of predecessors like Paige or LuPone. The protest, lasting three minutes, went viral on X, with hashtags like #EvitaProtest trending as theatergoers expressed frustration over paying up to £250 to watch a screen while outsiders enjoyed the live moment for free.
The Perceived Failure and Its Fallout
Zegler’s struggle to embody Eva Perón stems from a mismatch between her persona and the role’s demands. Her Disney-esque image, reinforced by Snow White controversies and social media stances, clashed with Eva’s historical complexity—a woman who wielded power amid political turmoil. Critics pointed to her fixed expression and lack of emotional evolution, as noted by Variety, which described her as “monotonously knowing” without revealing depth. Lloyd’s staging, while visually striking, diluted the narrative, leaving Zegler’s performance—however vocally powerful—disconnected from the character’s soul.
The audience revolt on July 6 crystallized this discontent. Henshaw told The Guardian, “This production strips Eva Perón of her depth. It’s a gimmick, not a tribute.” The protest prompted a Palladium statement promising a staging review, while Zegler’s tearful Instagram response thanked supporters but failed to quell the backlash. A Change.org petition, “Return Eva Perón’s True Spirit to Evita,” surpassed 5,000 signatures by July 7, reflecting widespread sentiment that Zegler’s interpretation fell short.
Theater luminaries were divided. Ian McKellen called the protest a “healthy challenge,” while Andrew Lloyd Webber deemed it “disrespectful.” Zegler’s resilience earned her upgraded praise from Time Out London as “a star in the making despite the chaos,” but the incident risks overshadowing her debut. With a planned 2027 Broadway transfer, producers face pressure to adjust, potentially recasting or revising the staging to honor Eva’s legacy more authentically.
A Legacy Tested
The history of Evita is a testament to its enduring appeal, built on the shoulders of iconic performers who captured Eva Perón’s multifaceted nature. Rachel Zegler’s attempt to join this lineage has instead exposed the challenges of reinterpreting a cultural icon in a modern context. Her vocal talent is undeniable, but the perceived failure to embody Eva’s depth, compounded by Lloyd’s controversial direction, has sparked a rebellion that questions the balance between innovation and tradition. As the dust settles on July 7, 2025, the London Palladium stands as a stage for both triumph and turmoil, a mirror to the ongoing debate over how best to honor a legend whose spirit continues to inspire and divide.
