Rachel Zegler, the 23-year-old actress who rose to fame with her Golden Globe-winning role in Steven Spielberg’s West Side Story (2021), is facing a significant career setback as her new London play, a revival of Andrew Lloyd Webber and Tim Rice’s 1978 musical Evita, struggles to attract audiences. Set to open on June 14, 2025, at the London Palladium, the production has reportedly hit rock bottom in ticket sales, with rows of seats remaining unsold just weeks before its debut. This flop follows the disappointing performance of Disney’s live-action Snow White (2025), where Zegler played the titular role, raising questions about her star power and the impact of her recent controversies on her career trajectory. This article explores the reasons behind the play’s poor ticket sales, the broader context of Zegler’s career, and what this means for her future in the entertainment industry.

The Evita Revival: High Hopes, Low Turnout

Rachel Zegler was cast as Eva Perón in Evita, a role that has historically been a career-defining opportunity for actresses like Elaine Paige and Patti LuPone, both of whom won prestigious awards for their portrayals. Directed by Jamie Lloyd, known for his acclaimed revival of Sunset Blvd. featuring Nicole Scherzinger, the production was anticipated to be a highlight of the 2025 West End season. The London Palladium, a 2,286-seat venue, is one of the largest in the West End, and the show’s 12-week run was expected to draw significant crowds, especially with ticket prices starting at a modest £29.50. Additionally, 5,000 tickets were reserved at £25 for under-30s, key workers, and those on government benefits, a move intended to broaden accessibility.

Despite these efforts, reports indicate that ticket sales have been dismal. Weeks before the opening, the venue’s ticketing website shows vast swathes of unsold seats across June, July, August, and September, with “green good” availability dominating the seating chart. This lack of interest is particularly striking given the affordability of the tickets and the Palladium’s capacity, suggesting that the issue lies not with pricing but with audience demand—or lack thereof. Social media platforms like X have amplified the narrative, with users and content creators labeling the production a “complete flop” even before its premiere, reflecting a growing sentiment of disinterest.

The Snow White Fallout: A Damaged Reputation

The poor ticket sales for Evita cannot be viewed in isolation; they are intricately tied to the fallout from Zegler’s recent project, Disney’s Snow White. Released on March 21, 2025, the live-action remake was a commercial and critical disappointment, grossing just $225 million worldwide against a $270 million budget, resulting in an estimated $115 million loss for Disney after ancillaries. The film’s domestic box office was a mere $100 million, underperforming compared to other Disney live-action remakes like Dumbo (2019), which grossed $115 million domestically despite its own challenges.

Zegler’s role in Snow White was mired in controversy from the start. Her casting as Snow White, a character traditionally depicted as “snow white” in complexion, drew backlash from some quarters due to her Colombian descent, despite her talent and the progressive intent behind the decision. More damaging were Zegler’s public comments during the film’s press tour, where she criticized the original 1937 animated classic, calling it outdated and emphasizing that her Snow White would not be “saved by a prince” but would instead focus on leadership. These remarks alienated fans of the classic, who felt she disrespected Disney’s legacy. Additionally, Zegler’s vocal support for Palestine and her criticism of President Trump and his supporters further polarized audiences, with some accusing her of bringing politics into a family-friendly project.

The Snow White backlash extended beyond the film itself. A satirical episode of The Simpsons titled “Snowwoke: The Reimagining,” which aired in early 2025, parodied Zegler’s portrayal and comments, turning her into a meme and a punchline across social media. Zegler reportedly demanded that Fox remove the episode, but the network refused, citing the satire’s success and legal protection. This incident, combined with reports of Zegler watching Snow White in a near-empty theater on Discount Tuesday, painted a picture of a star struggling to maintain her audience’s goodwill.

A Controversial Casting: Madonna’s Displeasure

Zegler’s casting as Eva Perón in Evita has also stirred controversy, further complicating her public image. Madonna, who won a Golden Globe for her portrayal of Perón in the 1996 film adaptation of Evita, is said to be displeased with Zegler’s selection. Sources close to the singer claim that Madonna feels a deep connection to the role and finds Zegler’s failure to acknowledge her iconic performance disrespectful. While Madonna has a history of embracing controversy, her reported frustration stems from Zegler’s perceived lack of reverence for the character’s legacy, a sentiment that resonates with some theater fans who view Zegler as an untested choice for such a demanding role.

This controversy has likely contributed to the play’s lackluster ticket sales. Evita is a beloved musical with a storied history, and fans may be hesitant to embrace a lead actress embroiled in drama, especially one whose recent project failed to resonate. Zegler’s relative inexperience on the West End stage—she made her Broadway debut as Juliet in a 2024 revival of Romeo and Juliet, which ran until February 2025—may also play a role in audience skepticism, despite her vocal talent and director Jamie Lloyd’s endorsement of her as a “phenomenal talent.”

The Broader Context: A Career at a Crossroads

Zegler’s career trajectory has been a rollercoaster. At 17, she beat out 30,000 applicants to star as María in West Side Story, earning critical acclaim and a Golden Globe for Best Actress in a Musical or Comedy—the first actress of Colombian descent to win in that category. She followed this with roles in Shazam! Fury of the Gods (2023) and The Hunger Games: The Ballad of Songbirds & Snakes (2023), where her performance as Lucy Gray Baird received praise for its nuance and emotional depth. However, her career has been increasingly overshadowed by controversy, from her exit from Paddington in Peru due to the SAG strike to the Snow White debacle.

Her Broadway debut in Romeo and Juliet, opposite Kit Connor, was a commercial success, drawing younger audiences to the Circle in the Square Theatre with its modern take on Shakespeare’s tragedy. However, the Evita flop suggests that Zegler’s appeal may not translate across all mediums and demographics. Theater audiences, particularly in the West End, often skew older and more traditional, and Zegler’s progressive persona and recent controversies may not resonate with this crowd. Moreover, the timing of the Evita announcement, coming on the heels of Snow White’s failure, may have amplified negative sentiment, as fans and critics alike question whether Zegler can carry a production of this magnitude.

Analyzing the Flop: What Went Wrong?

Several factors likely contributed to the poor ticket sales for Evita:

Reputation Damage: The Snow White fallout has undeniably tarnished Zegler’s image. Her comments, perceived as dismissive of Disney’s legacy, and her political stances have alienated a significant portion of her potential audience, particularly in a market like the West End, where musical theater fans often value tradition.

Audience Disconnect: Zegler’s appeal has historically been strongest among Gen-Z audiences, as seen in the success of Romeo and Juliet. However, Evita’s target demographic—older theatergoers and fans of classic musicals—may not align with her fanbase, especially given her lack of West End experience.

Marketing Challenges: Disney’s cautious approach to Snow White’s promotion, limiting press access due to Zegler’s controversies, may have set a precedent for Evita. If the production team is similarly hesitant to showcase Zegler in promotional materials, it could hinder efforts to generate buzz.

Cultural Context: The West End, like Broadway, is a competitive market. In 2025, other high-profile productions, such as the transfer of Sunset Blvd. featuring Nicole Scherzinger, are drawing crowds. Evita may struggle to stand out, especially with a lead actress who is currently a lightning rod for criticism.

Implications for Zegler’s Career

The flop of Evita poses significant risks for Zegler’s career. At 23, she is still early in her journey, but the entertainment industry is notoriously unforgiving of repeated missteps. Her ability to recover will depend on several factors:

Public Perception: Zegler needs to rebuild her image by focusing on her talent rather than her controversies. A strategic media appearance, as suggested by some industry experts, could help her reconnect with audiences by showcasing vulnerability and relatability.

Future Roles: Choosing projects that align with her strengths—musical theater and roles that allow her to showcase her vocal and acting abilities—could help Zegler regain her footing. Her upcoming role in the comedy-drama She Gets It From Me with Marisa Tomei offers a chance to pivot to a less controversial genre.

Fan Engagement: Zegler’s social media presence, while a source of controversy, also offers an opportunity to rebuild her fanbase. Sharing behind-the-scenes content from Evita or addressing her challenges with humor and humility could win back some goodwill.

A Critical Perspective: Beyond the Headlines

While the narrative of Zegler’s downfall dominates headlines, it’s worth examining the broader context. The entertainment industry often amplifies the failures of young stars, particularly women of color, while giving more established figures greater leeway. Zegler’s comments on Snow White were polarizing, but they also reflected a desire to modernize a dated narrative, a goal that aligns with Disney’s own progressive ethos. Her political stances, while controversial, are not uncommon among young actors in an era where activism is increasingly expected.

Moreover, the Evita ticket sales issue may not be solely Zegler’s burden. The West End has faced challenges in 2025, with ticket prices and economic pressures impacting attendance across productions. The Palladium’s large capacity may also be a factor—smaller venues might have masked the sales issue by selling out faster. Finally, the production’s marketing strategy, which has not heavily featured Zegler, may have failed to capitalize on her existing fanbase, however diminished.

Conclusion

Rachel Zegler’s new London play, Evita, is shaping up to be a commercial disappointment, with ticket sales hitting rock bottom just weeks before its June 14, 2025, premiere. The flop is a stark contrast to the high expectations set by Zegler’s earlier successes and reflects the lingering impact of her Snow White controversies, from her polarizing comments to the film’s box office failure. Combined with skepticism about her casting as Eva Perón and a competitive West End market, the production faces an uphill battle to fill seats.

At 23, Zegler is at a crossroads. The Evita flop could mark a turning point, either toward a career resurgence or a prolonged decline. Her talent remains undeniable—her Golden Globe win and Broadway success attest to that—but her ability to navigate controversy and reconnect with audiences will determine her future. As the curtain prepares to rise on Evita, all eyes will be on Zegler to see if she can defy the odds and reclaim her place as one of Hollywood’s brightest young stars, or if this latest chapter will cement her reputation as a cautionary tale in the fickle world of fame.