Evita Critics Demand Show Shutdown – Petition Surges to 100,000 Signatures Overnight

As of June 24, 2025, at 03:08 PM +07, the West End revival of Evita starring Rachel Zegler has plunged into a maelstrom of controversy, with a petition demanding its closure amassing an astonishing 100,000 signatures overnight. The production, which opened at the London Palladium on June 14 under director Jamie Lloyd, has been lauded for its innovative staging but vilified by critics who brand it a cultural misstep. The petition, launched on June 23 by an anonymous group calling itself “Theatre Integrity UK,” alleges the show distorts history, exploits Zegler’s celebrity, and alienates paying audiences with its controversial balcony performance of “Don’t Cry for Me Argentina.” This sudden uproar, fueled by social media and public discontent, has turned a summer musical into a battleground for artistic freedom versus cultural accountability.

The Petition’s Explosive Rise

The petition emerged late on June 22, posted on Change.org, and by the morning of June 24, it had skyrocketed to 100,000 signatures, a feat that stunned theatre observers. Titled “Shut Down the Woke Misrepresentation of Evita,” it accuses the production of “whitewashing Eva Perón’s legacy” and “using Rachel Zegler as a pawn in a progressive agenda.” The document claims the show’s outdoor staging—where Zegler performs the iconic song from the Palladium balcony for free while ticket holders watch a video feed—disrespects both history and paying patrons. It demands the production’s immediate closure and a “historically accurate” recasting, echoing earlier calls like the 2022 Glasgow Evita petition by Musical Theatre Anti-Racism Scotland.

Supporters on X hailed the petition’s speed, with one user posting, “100k signatures in a night—people are DONE with this woke garbage!” Critics of the petition, however, argue it’s a coordinated attack, possibly linked to Zegler’s past controversies, including her Snow White backlash over progressive themes and political statements. The petition’s anonymity fuels speculation, with some suggesting it’s a troll campaign or a backlash from conservative theatregoers, though no evidence confirms this. The Palladium has yet to respond officially, but the rapid signature surge has forced the industry to take notice.

The Staging Controversy

The flashpoint is Lloyd’s decision to stage “Don’t Cry for Me Argentina” outside the theatre. Since previews began, Zegler has performed the song nightly from the balcony above Argyll Street, drawing hundreds of onlookers while £350 ticket holders inside view a livestream. The Guardian reported on June 17 that this move, intended to reflect Eva Perón’s populist appeal, has created a “unique immersive experience” for street crowds but left paying audiences “bitterly disappointed.” One X user vented, “Paid £350 to watch a screen while freeloaders get the real thing—absurd!”

Defenders, including Chris Peterson of OnStage Blog, argue the staging aligns with Evita’s themes of political theatre, turning a private moment into a public spectacle. Danni Scott of Metro, after witnessing the performance, called it a “fitting move” symbolizing Eva’s connection to the “poor” outside versus the “rich” inside. Yet, the practical fallout—paramedics aiding sunstroke victims during a June 18 heatwave—has intensified complaints, with some blaming Zegler unfairly. The petition cites this as evidence of “exploitation,” claiming the stunt prioritizes publicity over artistry.

Historical and Cultural Critiques

The petition’s core accusation is that Evita misrepresents Eva Perón’s life. It echoes long-standing debates about the musical’s portrayal, first raised by Tim Rice and Andrew Lloyd Webber in 1976, where Eva’s rise is depicted as manipulative, with Che (here an Everyman, not Che Guevara) accusing her of self-interest. Historians note Eva’s real contributions—her foundation distributed millions in aid and secured women’s suffrage—but the musical downplays these, focusing on scandal. The petition demands a recast with Argentine actors to “honor her legacy,” a call reminiscent of the 2022 Glasgow controversy, where critics labeled the all-white cast tone-deaf.

Zegler’s casting has amplified this critique. Her Latina heritage, celebrated in West Side Story, is overshadowed by Snow White backlash, where her progressive views drew ire. The petition suggests her involvement is a “calculated move” to push a “woke narrative,” a charge Lloyd’s team denies, emphasizing the production’s focus on Eva’s complexity. Yet, trigger warnings for loud music and sudden noises—ridiculed by Sir Ian McKellen as “ludicrous”—have fueled perceptions of pandering, with the Daily Mail on June 19 highlighting audience walkouts during previews.

Theatre Crowd Reactions

The Palladium crowd has fractured. During previews, boos erupted during the balcony scene, with some patrons leaving mid-performance, as reported by the Hollywood Reporter on June 20. Paying attendees feel cheated, with one telling The Guardian, “I came for a live experience, not a TV show.” Street crowds, however, cheer enthusiastically, turning Argyll Street into a nightly event, as AP News documented on June 21. This divide mirrors broader cultural tensions, with some seeing the backlash as misogynistic, targeting Zegler for industry choices, while others view it as a legitimate protest against Lloyd’s direction.

The petition’s success suggests a mobilized opposition, possibly amplified by online bots or coordinated groups, though no data confirms this. Theatre insiders note the £9 million box office advance (per Deadline, June 21) indicates strong interest, but early ticket sale struggles reported by Cosmic Book News on April 23 suggest the controversy may be driving sales as much as deterring them. A potential 2027 Broadway transfer hangs in the balance, with this backlash a critical factor.

Industry and Historical Context

This controversy fits 2025’s theatre trends, where directors like Lloyd experiment with multimedia, as seen in his Sunset Boulevard staging. Trigger warnings, while divisive, are increasingly common, with Vulture reporting interruptions at The Years’ 2024 run due to fainters. The Evita debate also revisits its problematic history—critics like OnStage Blog have long called it a “colonized story” by white creators, a view the petition amplifies. Eva Perón’s legacy, still revered in Argentina as “Santa Evita,” contrasts with the musical’s cynical lens, a tension the petition seeks to address.

The rapid signature surge recalls the 2025 Wheel of Time petition, which hit 100,000 to save the show, suggesting a pattern of fan-driven campaigns. Yet, Evita’s case is unique, blending artistic critique with cultural politics. The 1996 film’s protests in Argentina, where Peronists clashed with screenings, offer a historical parallel, though today’s battle is digital, not physical.

Zegler’s Role and Response

Zegler, whose West End debut was meant to showcase her stage talent, finds herself at the storm’s center again. Her soprano voice, praised by The Guardian on June 22, and personal connection—singing “Don’t Cry for Me Argentina” with her father as a child—add irony to the criticism. She’s remained silent publicly, letting the production team handle the fallout. Lloyd has defended the staging as “a bold statement on Eva’s public life,” but the petition’s momentum challenges this narrative.

Her Snow White experience—where a £200 million budget yielded £148 million—looms large, with detractors using it to question her draw. Supporters argue the hate is unfair, pointing to her Golden Globe win for West Side Story and Evita’s sell-out status. The petition’s focus on her, however, suggests her celebrity is both the production’s strength and its liability.

Looking Ahead

As Evita runs until September 6, 2025, the petition’s impact is uncertain. Zegler’s scheduled absences on Mondays like July 14 and August 11 (per Reddit discussions) may test audience loyalty, with alternates unconfirmed. The Palladium could face pressure to adjust the staging or risk closure talks escalating. A counter-petition, “Save Evita’s Vision,” with 5,000 signatures by June 24, signals resistance, but the 100,000 figure dominates discourse.

This showdown—between artistic innovation and historical fidelity—captures 2025’s cultural divide. Whether the petition shuts down Evita or propels it to Broadway, it has already transformed a musical into a movement, with Zegler and Lloyd at its epicenter.