The West End is buzzing, and not just with anticipation. Rachel Zegler, the acclaimed young star, finds herself at the center of another public discussion, this time regarding the highly anticipated London revival of Andrew Lloyd Webber’s Evita, directed by Jamie Lloyd. The production has quickly become one of the hottest tickets in town, yet it’s also sparking considerable debate among theatergoers.
What’s Causing the Evita West End Controversy?
At the heart of the current hubbub is the staging of “Don’t Cry for Me Argentina,” arguably the musical’s most iconic song. Patrons who have paid significant sums – reportedly up to £250 (around $335) for a seat – are finding that the famous balcony scene, where Evita sings this power ballad, is being broadcast live to onlookers gathered outside the London Palladium, while the paying audience inside watches a simulcast.
This directorial choice has understandably frustrated many who expected a live, in-person performance of the show’s most celebrated moment. The irony is palpable: paying top dollar for a theatrical experience, only to see the show’s pivotal number performed live for passersby on the street, while you watch it on a screen indoors. As one observer noted, you might have a better chance catching Zegler singing the song at a karaoke bar than seeing the live balcony performance from inside the theater.
Jamie Lloyd’s Distinctive Vision
Director Jamie Lloyd is well-known for his bold and often unconventional staging choices, frequently challenging the traditional boundaries between performer and audience, and the stage and the real world. This Evita moment is not an isolated incident but fits within a pattern seen in his previous acclaimed revivals.
Lloyd’s recent work has consistently played with the proscenium. His production of A Doll’s House on Broadway ended with Jessica Chastain walking out of the theater and onto the street. Similarly, his Sunset Boulevard revival featured a character singing the titular song while walking along West 44th Street. These moments, some of which have gone viral online, highlight a clear intent to extend the theatrical experience beyond the confines of the stage.
Beyond breaking the fourth wall, Lloyd’s revivals – including Romeo & Juliet and Cyrano de Bergerac – are often characterized by minimalist staging and stark, modern costuming. This stripped-down aesthetic focuses attention intensely on performance and text, sometimes leading to unexpected visual elements that become major talking points.
Does the Balcony Scene Make Dramaturgical Sense?
Some argue that Lloyd’s choice, while frustrating for audiences, aligns with the core themes of Evita. The musical tells the story of Eva Perón, a figure who rose from poverty to become a beloved, almost deified, leader of Argentina’s working class (the descamisados). “Don’t Cry for Me Argentina” is presented as Evita connecting with the people, affirming her loyalty and humble roots despite her rise to power.
From this perspective, having Evita literally sing to the masses outside, while seemingly ignoring the wealthier, ticket-buying audience inside, could be interpreted as a potent symbolic act reflecting her character’s loyalty to the poor and disdain for the elite.
However, this artistic justification doesn’t always land well with an audience who has paid a premium for a night out. Few people paying hundreds of dollars for theater tickets want to be positioned metaphorically as the “privileged elites” whose blood might run in the streets – particularly when they miss the live performance as a result. For many, the artistic statement is overshadowed by the feeling of being short-changed on a costly experience.
Other Talking Points: Goo and Social Media Buzz
Adding to the intrigue surrounding this production are other unusual elements, such as reports of a cast member, seemingly playing the character of Che, being covered in a mysterious goo by the end of the show. The purpose or meaning behind this visual remains unclear, sparking further speculation among early viewers.
Naturally, the controversy and unique staging choices have become fodder for social media. The “Jamie Lloyd’s _” meme format has gained popularity, humorously hypothesizing what other classic works might look like under his distinctive direction. Even theater icon Patti LuPone’s potential reaction has been anticipated online, given her past commentary on portrayals of Evita.
The Evita revival starring Rachel Zegler in London is undoubtedly generating significant buzz. While the critical reception remains to be seen, the production is already fulfilling Jamie Lloyd’s reputation for creating theater that provokes discussion, challenges expectations, and extends the performance beyond the traditional stage. Whether this approach ultimately serves the show or alienates the audience is the debate currently unfolding in the West End.
