The announcement of Rachel Zegler as Eva Perón in the West End revival of Evita, directed by Jamie Lloyd, was expected to generate buzz. However, the casting decision has sparked significant backlash, particularly on social media platforms like X, where fans, critics, and industry insiders have voiced their discontent. Curiously, mainstream media outlets have remained largely silent on the controversy, raising questions about what might be driving this apparent blackout. Is the media deliberately avoiding the story to protect Zegler, the production, or powerful industry interests? This article explores the nature of the backlash, the media’s muted response, and the potential reasons behind their silence, drawing on recent web and X posts for insight.
The Backlash: A Storm Brewing Online
Rachel Zegler’s casting in Evita, set to run at the London Palladium from June 14 to September 6, 2025, has ignited a firestorm of criticism. On X, posts have highlighted growing discontent, with some users launching petitions to protest Zegler’s involvement. One post claimed that an “Evita Petition EXPLODES,” suggesting her casting could jeopardize the production’s success. Critics argue that Zegler, at 23, lacks the stage experience required for the demanding role of Eva Perón, a historical figure whose complex legacy requires vocal prowess and dramatic depth. Others point to her recent controversies, particularly surrounding Disney’s Snow White remake, as a liability for the high-profile musical.
Zegler’s public image has been polarizing since her breakout role in West Side Story (2021). Her comments criticizing the 1937 Snow White animated film, coupled with a controversial Instagram post following the 2024 U.S. presidential election where she expressed strong sentiments against Trump supporters, have alienated segments of the public. These incidents have fueled perceptions that Zegler is a risky choice for Evita, with some fans questioning whether her casting was driven by artistic merit or external pressures. Reports of sluggish ticket sales, as noted by London Theatre Direct, further amplify concerns that the backlash is impacting the production’s viability.
The controversy has also drawn comparisons to other casting decisions. Speculation that Ariana DeBose, Zegler’s West Side Story co-star and an Oscar winner with extensive stage experience, was initially considered for the role has intensified scrutiny. Additionally, sources claim that Madonna, who portrayed Eva Perón in the 1996 film adaptation, is critical of Zegler’s casting, believing no one can match her Golden Globe-winning performance. Zegler’s failure to acknowledge Madonna’s iconic portrayal in her public statements about Evita has been perceived as a misstep, further stoking the backlash.
The Media’s Deafening Silence
Despite the vocal online outcry, mainstream media coverage of the Evita backlash has been conspicuously sparse. Major outlets like The New York Times, The Guardian, and Variety have published articles about Zegler’s casting and the production’s creative team but have largely sidestepped the controversy. For instance, London Theatre and WhatsOnStage have focused on Zegler’s career highlights and rehearsal photos, framing her involvement as a triumph for a rising star. Meanwhile, the petition and fan discontent circulating on X have received little to no attention from these publications.
This silence contrasts sharply with the media’s extensive coverage of Zegler’s Snow White controversies. Outlets like Daily Mail, Yahoo, and Vanity Fair detailed the backlash over her comments on the Disney remake, her political activism, and the film’s poor box office performance, which grossed only $184.9 million against a reported $350 million budget. The Evita controversy, however, seems to have flown under the radar, prompting speculation about why the media is reluctant to engage with the story.
What Are They Hiding? Possible Explanations
Several factors could explain the media’s reticence to cover the Evita backlash. First, the theater industry’s insular nature may play a role. Unlike Hollywood, where scandals often dominate headlines, West End and Broadway productions tend to prioritize positive narratives to protect ticket sales and creative reputations. Evita’s producers, including Michael Harrison and Lloyd Webber Harrison Musicals, may be exerting influence to keep negative press at bay, especially given the production’s high financial stakes and Jamie Lloyd’s acclaimed status. The media’s focus on rehearsal photos and Zegler’s enthusiasm suggests a concerted effort to control the narrative.
Second, Zegler’s status as a young actress from an underrepresented background may make media outlets hesitant to amplify criticism. As noted by film critic Kelechi Ehenulo, actors like Zegler, who is Latina, often become “targets for backlash” in culture wars, facing disproportionate scrutiny for their views and casting. Outlets may fear that covering the Evita controversy could be perceived as piling on a young star already battered by Snow White fallout, particularly when racist undertones have been part of the criticism against her. For example, Zegler faced backlash for her Snow White casting from those who argued a Latina actress shouldn’t play a character described as having “skin as white as snow.”
Third, the media may be wary of lending credence to unverified claims circulating on X, such as the petition or rumors of industry discontent. Without official statements from Lloyd, Zegler, or the production team, outlets may view the backlash as speculative noise rather than a substantive story. However, this cautious approach risks ignoring legitimate fan concerns and the broader context of Zegler’s controversial public persona, which has undeniably shaped perceptions of her Evita casting.
Finally, there’s the possibility of industry politics at play. Zegler’s casting has been framed as a strategic move to attract younger audiences, with initiatives like £25 tickets for under-30s and key workers. Powerful figures, including Lloyd and producer Michael Harrison, have publicly endorsed Zegler, with Lloyd praising her “phenomenal talent” and “incredible passion.” Media outlets with ties to the theater industry may be reluctant to jeopardize relationships by highlighting a controversy that could undermine the production’s success.
The Stakes for Evita and Zegler
The Evita backlash, though underreported, poses significant risks for both the production and Zegler’s career. The musical, with its iconic score including “Don’t Cry for Me Argentina,” carries a storied legacy, having been performed by legends like Elaine Paige and Patti LuPone. Zegler’s relative inexperience on stage, despite her Broadway debut in Romeo + Juliet (2024), has led some to question her readiness for the role. A lackluster performance could reinforce criticisms and damage the production’s reputation, particularly if ticket sales continue to lag.
For Zegler, Evita is a critical opportunity to rebound from the Snow White debacle. Her Broadway run in Romeo + Juliet was a commercial success, attracting the youngest ticket-buying audience in Broadway history, which suggests she has the star power to draw crowds. A triumphant West End debut could silence detractors and reestablish her as a leading talent. However, persistent backlash and media scrutiny could overshadow her performance, making it harder to regain industry trust. Reports that studios view her as “unhireable” due to her outspokenness underscore the precariousness of her position.
Why the Silence Matters
The media’s silence on the Evita backlash raises broader questions about transparency and accountability in the entertainment industry. By focusing on positive narratives, outlets may be shielding powerful stakeholders while dismissing legitimate fan concerns. The controversy also highlights the challenges faced by young actors navigating public perception in an era of social media amplification. Zegler’s activism and outspokenness have made her a lightning rod, but the media’s reluctance to engage with the Evita backlash risks perpetuating a cycle where only certain voices are heard.
Moreover, the silence underscores the tension between artistic freedom and commercial pressures. If external influences, such as funding or industry relationships, are shaping casting decisions or media coverage, it calls into question the integrity of the creative process. Fans deserve clarity about why Zegler was chosen and how the production is addressing their concerns, particularly given Evita’s cultural significance.
Conclusion
The backlash against Rachel Zegler’s casting in Evita has exposed deep divisions among fans, critics, and industry observers, yet the mainstream media’s silence suggests an unwillingness to confront the controversy head-on. Whether driven by industry politics, fear of amplifying divisive narratives, or a desire to protect a young star, this blackout raises troubling questions about what the media might be hiding. As Evita prepares to open at the London Palladium, the spotlight will be on Zegler to deliver a performance that transcends the noise. For now, the lack of coverage leaves fans and observers to piece together the truth from social media fragments, wondering what forces are shaping the narrative behind one of the West End’s most anticipated productions of 2025.
