On June 30, 2025, the London theater scene has been thrown into chaos as Rachel Zegler, the young actress still reeling from the commercial failure of Disney’s live-action Snow White, has ignited a fresh controversy with her West End debut in Evita. Performing the role of Eva Perón at the London Palladium, Zegler’s decision to stage a dramatic outdoor performance of “Don’t Cry for Me Argentina” has been branded an “insane stunt” by critics and fans alike. Coming on the heels of Snow White’s reported $200 million loss, this bold move has amplified scrutiny of her career, with many accusing her of jeopardizing a classic musical to salvage her reputation. As the backlash intensifies, the incident raises questions about artistic innovation, audience expectations, and the pressures of a tarnished Hollywood star.
The Controversial Stunt
The controversy centers on Zegler’s performance in Jamie Lloyd’s revival of Evita, which began previews on June 14, 2025, and runs through September 6. The production’s most contentious moment occurs during the second act, when Zegler steps onto the Palladium’s exterior balcony to sing “Don’t Cry for Me Argentina” live to crowds on Argyll Street, while paying audience members inside watch via a large screen. This staging, intended to reflect Eva Perón’s historical addresses to the Argentine masses, has drawn thousands of free spectators nightly, with footage of her blonde-wigged, white-gowned performance going viral on platforms like TikTok.
However, the stunt has backfired with ticket holders, who paid up to £245 ($330) for premium seats, feeling cheated out of a live experience. The decision, spearheaded by Lloyd’s avant-garde direction, aims to break the fourth wall and symbolize Perón’s populist appeal, but it has instead sparked outrage. Critics argue it undermines the theatrical experience, with one X user posting, “Paid £245 to watch a screen while randoms outside get the real show—Rachel Zegler ruins Evita!” The situation worsened during a recent UK heatwave, when paramedics were called to treat spectators suffering sunstroke and dehydration, adding safety concerns to the uproar.
Zegler’s performance, while vocally strong—drawing comparisons to Patti LuPone’s iconic 1978 portrayal—has been overshadowed by the staging choice. Her recent Snow White flop, which grossed $205.6 million against a $270 million budget, has fueled perceptions that this stunt is a desperate bid to reclaim relevance, amplifying the backlash.
The Snow White Fallout
The context of Zegler’s Evita controversy is inseparable from Snow White’s dismal performance. Released in March 2025, the film faced pre-release criticism after Zegler’s 2023 comments calling the original “weird” and outdated, alienating Disney traditionalists. Her political stances, including a 2024 pro-Palestine X post and critiques of Trump supporters, further polarized audiences, reportedly prompting Disney producer Marc Platt to intervene. The casting of Zegler, a Colombian-American, as Snow White also sparked racist backlash, while co-star Gal Gadot’s Israeli background added geopolitical tension.
The film’s financial toll—estimated at a $150 million loss after marketing costs—marked it as Disney’s biggest live-action remake flop since 2015’s Tomorrowland. Reviews were mixed, with The Daily Mail labeling it a “pallid reimagining,” and the dwarfism community criticized the decision to replace dwarfs with CGI characters, following Peter Dinklage’s 2022 objections. Zegler’s association with this failure has cast a shadow over her Evita debut, with many viewing the balcony stunt as an attempt to shift focus from her cinematic misstep.
Public and Critical Backlash
The reaction has been swift and divisive. On X, fans have labeled the stunt “a slap in the face” to ticket holders, with posts like, “Rachel Zegler ruins Evita with this gimmick after tanking Snow White—refund now!” Others blame Jamie Lloyd, arguing his direction exploits Zegler’s post-flop vulnerability. The £245 price tag has become a rallying cry, with petitions for refunds gaining traction on platforms like Change.org, accusing the Palladium of misleading advertising.
Supporters, however, defend the move as innovative, with some noting, “Zegler’s bringing Evita to the people—Snow White flop or not, that’s art.” Andrew Lloyd Webber, the musical’s composer, has praised her talent, telling Metro on June 20, 2025, “Rachel sings like an angel,” though he expressed safety concerns about the outdoor crowds. Critics, including theater purists, argue the stunt dilutes the live experience, with The Guardian’s reviewer noting a “zap” from the screen but missing the “emotional zing” of a stage performance.
The heatwave incidents, where ambulances were stationed outside for nearly an hour, have intensified criticism. A Daily Mail source reported, “It’s turning into a nightmare—crowd control is failing,” shifting some blame to the production’s lack of preparation rather than Zegler alone.
Context and Career Crossroads
Zegler’s career trajectory has been a rollercoaster. Her Golden Globe-winning role in West Side Story (2021) established her as a rising star, but Shazam! Fury of the Gods (2023) and The Hunger Games: The Ballad of Songbirds and Snakes (2023) failed to replicate that success. Snow White’s flop, coupled with her polarizing persona, has led to a perceived Hollywood hiatus, with reports suggesting limited film offers. Evita was meant to be a redemption arc, leveraging her stage roots and Latin heritage, but the stunt has complicated that narrative.
Her reliance on medication and therapy, admitted in a June i-D Magazine interview, adds another layer. Zegler described the Snow White backlash as “alarming,” using anti-anxiety medication to cope. While some see this as bravery, others, per X posts, view it as dodging accountability, accusing her of blaming Disney and critics rather than owning her role in the film’s marketing missteps.
Broader Implications
This incident challenges theater’s balance between innovation and tradition. Lloyd’s multimedia approach, seen in Sunset Boulevard, aims to redefine the West End, but the Evita backlash suggests limits to such experiments when ticket prices are high. The Palladium’s decision to close Argyll Street for the performance, coordinated with London authorities, highlights logistical challenges, potentially prompting stricter crowd management policies.
For Zegler, the stunt risks further damaging her reputation. Her scheduled absences—four Mondays in July and August, with understudy Bella Brown stepping in—may reflect vocal strain or a strategic retreat amid the controversy. The Snow White loss has already prompted Disney to reassess its live-action strategy, and Zegler’s involvement could deter future collaborations unless Evita redeems her.
The debate also reflects cultural tensions. Theater’s move toward public engagement, as with Lloyd’s outdoor staging, clashes with expectations of exclusivity. Zegler’s stunt, while echoing Eva Perón’s populism, has exposed the divide between paying patrons and free spectators, a tension amplified by her recent flop.
Conspiracy Theories and Cultural Impact
Conspiracy theories suggest the stunt was a calculated PR move to boost Evita’s box office amid Snow White’s fallout, with some linking it to Lloyd’s ambition to outshine his Sunset Boulevard success. Others propose Disney orchestrated the controversy to distance itself from Zegler. These ideas, unproven, reflect skepticism about her motives. Culturally, the incident frames Zegler as a polarizing figure—celebrated for talent but criticized for misjudgment—mirroring her Snow White experience.
The Road Ahead
As of 02:45 PM +07 on June 30, 2025, the London Palladium has not addressed refund demands, though a statement is anticipated. Ticket sales remain strong, with a $9 million advance reported, suggesting the controversy may sustain interest. Zegler continues performing, but her next steps—whether doubling down on theater or returning to film—will define her recovery. The Evita run’s success hinges on navigating this backlash, with potential adjustments to the balcony stunt looming.
This saga, blending a post-flop comeback with a risky theatrical gamble, underscores the precarious nature of stardom. Whether Zegler’s Evita stunt ruins her legacy or redeems it depends on how she and the production respond to the uproar, leaving the West End—and her career—on edge.
