As of 04:47 PM +07 on Friday, June 27, 2025, rumors are swirling around Rachel Zegler, the 24-year-old actress known for her roles in West Side Story and Disney’s live-action Snow White, suggesting she may have been “cancelled” from a potential Broadway performance. These speculations, fueled by her polarizing career trajectory and recent public backlash, center on her involvement in a planned Broadway transfer of the West End’s Evita, where she currently stars as Eva Perón. The narrative of cancellation, however, is fraught with uncertainty, blending truth with exaggeration, and reflects the intense scrutiny Zegler has faced since her Hollywood rise collided with controversy. This article explores the origins of these rumors, the context of her theater career, and the broader implications for her standing in the entertainment industry.
Zegler’s journey to prominence began with her Golden Globe-winning portrayal of Maria in Steven Spielberg’s 2021 West Side Story, a role that catapulted her from obscurity to stardom at age 17. Her subsequent casting as Snow White in Disney’s 2025 remake marked a high-profile leap, but it also ignited a firestorm of criticism. Announced in 2021, her selection as the first Latina Snow White drew accusations of “race-bending” from some fans, a debate that escalated with her 2022 D23 Expo comments labeling the original Prince Charming a “stalker” and the love story “dated.” These remarks, combined with her outspoken political views—supporting Palestine and criticizing Donald Trump—alienated segments of her audience, leading to a barrage of online hate, including racist slurs and death threats, as noted in various media reports.
The Snow White release in March 2025 amplified this backlash. The $270 million film grossed a disappointing $205.6 million globally, earning a 42% Rotten Tomatoes score and a 66% second-weekend drop to $14.2 million. Critics and fans attributed its failure partly to Zegler’s public statements, with Disney producer Marc Platt reportedly reprimanding her in 2024 for injecting personal politics into promotion, according to The Hollywood Reporter. Her Instagram posts targeting Trump supporters post-2024 election further fueled the narrative of a “PR nightmare,” prompting studios to distance themselves. This context has led some to speculate that her film career has crashed, a perception she countered in a June 2025 i-D Magazine interview by claiming her shift to theater was a deliberate choice, not a retreat.
The cancellation rumors specifically tie to Evita, where Zegler has been captivating London audiences since previews began on June 14, 2025, at the Palladium. Directed by Jamie Lloyd, the production features her performing “Don’t Cry for Me Argentina” live from the balcony, a viral moment that has drawn crowds and rave reviews. Industry chatter, reported by Deadline and BroadwayWorld, suggests a potential Broadway transfer in 2027, with Zegler eyed for the lead. However, posts found on X and articles like one from OutKick claim she has been “booted” from this role, citing her controversial persona as the reason. These assertions lack official confirmation from Zegler, Lloyd, or the production team, casting doubt on their validity.
The rumor’s origin appears linked to satirical or speculative sources, possibly amplified by Zegler’s rocky Hollywood tenure. Her Broadway debut as Juliet in Romeo and Juliet (2024-2025) with Kit Connor was snubbed at the 2025 Tony Awards, fueling perceptions of declining favor. The Evita balcony performance, while a marketing triumph with £6.7 million ($9 million) in advance sales, also sparked criticism when multiple fans fell ill in a June heatwave, as reported by Daily Mail. This incident, coupled with her defense of her bodyguard “Danny” during a fan clash—praised by some as gracious but criticized by others—has kept her in the headlines, possibly feeding cancellation narratives.
Zegler’s own statements complicate the picture. In i-D, she described returning to theater as a voluntary move, citing a need to feel “less idle” post-Snow White. This contrasts with industry whispers of blacklisting, with Variety suggesting Disney and others view her as a liability after the film’s $115 million loss. Her Evita success—lauded by Andrew Lloyd Webber as “the best it’s ever been sung”—and talks for a Sound of Music revival at Lincoln Center, as noted by ScreenRant, indicate ongoing demand. Yet, the lack of a firm Broadway Evita commitment, delayed to 2027 due to scheduling conflicts with Lloyd Webber’s Cats: The Jellicle Ball and Tim Rice’s Chess, leaves room for speculation about her future.
Public reaction, reflected on X, is divided. Supporters celebrate her theater prowess, with posts praising her “Evita” performance as a “redemption arc,” while detractors argue she’s “unemployable” after Snow White’s flop, echoing Breitbart’s “box office poison” label. The sentiment mirrors broader cultural tensions, with her progressive activism—evidenced by a Palestinian flag bracelet—alienating conservatives but earning liberal support, like Melissa Barrera’s backing. The cancellation rumor, lacking concrete evidence, seems more a reflection of her polarizing image than a confirmed event, though it underscores the precariousness of her career.
The establishment narrative frames Zegler’s challenges as self-inflicted, blaming her outspokenness for Snow White’s demise and suggesting Broadway cancellation as a natural consequence. This overlooks the disproportionate hate she endured—racist attacks and death threats, as documented by The Shillong Times—and Disney’s failure to shield her, as seen in Platt’s reprimand. Her reliance on therapy and anti-anxiety medication, detailed in HuffPost, reveals the mental toll, challenging the idea that she alone derailed her path. The industry’s quick pivot away—her exit from Paddington in Peru due to the SAG-AFTRA strike—supports a narrative of abandonment, contradicting her “choice” claim.
Theater offers a potential lifeline. Her Evita run, extending to September 6, 2025, has been a critical hit, with NPR noting her balcony performance’s “captivating” effect. A 2027 Broadway transfer, if realized, could solidify her stage career, leveraging her musical roots from YouTube covers (2015-2023). Yet, tensions with Madonna, who feels a “deep connection” to Evita, as per Daily Mail, and the logistical delays suggest hurdles. Her Sound of Music talks, while speculative, hint at a strategic pivot, though online backlash from OutKick users roasting the idea reflects ongoing resistance.
The implications are significant. Zegler’s rumored cancellation highlights the fragility of young stars in a social media-driven era, where activism can both elevate and destroy. Her story parallels Gina Carano’s Disney lawsuit, exposing Hollywood’s inconsistent tolerance for controversy. A successful Evita transfer could revive her career, challenging film’s dominance with theater’s resurgence, while her mental health advocacy—echoing Selena Gomez—may push for better industry support. For Broadway, her potential involvement tests its appetite for polarizing figures, with 2027 as a critical juncture.
As of June 27, 2025, no official cancellation has been confirmed, and Zegler’s Evita tenure continues to thrive. The rumor, likely exaggerated, reflects her contentious status rather than a definitive end. Whether she reclaims Hollywood or redefines her path on stage, this moment underscores a theater kid navigating fame’s harsh realities, leaving the industry to watch her next move with bated breath.
