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Insight and Artistry: A Review of Jamie Lloyd’s Evita on the West End

  • Writer: Briet Marie
    Briet Marie
  • Jun 17
  • 4 min read

Updated: Jul 1

Yesterday I experienced something unforgettable: Jamie Lloyd’s reimagining of Evita on the West End, starring the phenomenal Rachel Zegler. 

Written by: Briet Marie


Known for his provocative and minimalist takes on classics like Romeo and Juliet (which I saw back in summer 2024, starring Tom Holland) and Sunset Boulevard (which I haven’t seen), Lloyd’s name carries weight and controversy.


While watching Evita, I kept thinking how much it reminded me of Romeo and Juliet. The stark design, the emotional tension, the stripped-back aesthetic... and then it hit me...same director! Maybe I should have researched that before but hey this for now is just a hobby! :)


Ok Insightful Artisans let's dive in! Evita is an incredibly complex show rich in political, social, and economic commentary and in order to make this review palatable. I'm going to break this down into the key elements: Plot, Casting, Music, Costume Design, and Set Design.



Plot: The Rise and Myth of Eva Perón

Evita follows the astonishing rise of Eva Perón, from her humble beginnings as a poor radio actress to becoming Argentina’s First Lady during a time of immense political turmoil.


Now, I’m not here to give a full lecture on Argentine history, but some context is essential. As the Council on Foreign Relations points out, Argentina transitioned from being one of the wealthiest countries in the world to one entrenched in an economic crisis, with triple-digit inflation and heavy debt.


The musical portrays Eva's climb using charm, sexual power, and ruthless ambition. One standout number, Goodnight and Thank You, literally has her ascending stairs to Juan Perón, symbolizing her rise through Argentina’s power structures.


Juan Perón, who began as Minister of Labor, would eventually form Peronism, a political ideology that, depending on who you ask, carries authoritarian, nationalist, and even fascist traits. As The Guardian describes it, Peronism "is hard to classify: not quite left, not quite right, but a volatile blend of both extremes". 


Eva was initially beloved by the people, mostly the lower classes , thanks to her charity work and impassioned speeches. But her extravagant taste for couture, jewels, and luxury clashed with her working-class image. That contradiction saint to some, hypocrite to others is the heart of this story.


And this is where Jamie Lloyd thrives. His signature directing choices such as stark lighting, shirtless monologues drenched in blood, theatrical minimalism all mesh well with the critique of the character of Evita. The musical is inherently political and deeply emotional and the artistic choices made by Lloyd heighten the brutal examination of image, power, and myth that is the former first lady of Argentina.


Characters & Casting: Stars Among Us

How do you cast a figure as complex and iconically beloved (and reviled) as Eva Perón? Someone with the haunting mystique of Princess Diana or Marilyn Monroe?


Rachel Zegler nails it. She not only plays Evita but embodies her which is even more impressive as she is recognizable. She cried live on stage, screamed so passionately I thought she was actually in pain and most importantly her performance of Don’t Cry for Me Argentina was one of the most powerful live performances I’ve ever witnessed.


Another standout: Diego Andrés Rodriguez as Che. This was his West End debut, and wow what a debut. Che represents Eva’s conscience, the voice of Argentina, and at times, her emotional opposition. The role demands vocal prowess and raw emotion, and Diego delivered both with heart and soul.


James Olivas as Juan Perón brought charisma and a politician’s sheen. While his performance didn’t captivate me as deeply as Rachel and Diego’s, he was solid and casting an attractive man in the role actually serves the narrative. We often trust those who “look the part,” especially in politics.


Music: The Sound of Power

I’ll keep this short. Modern musical scores often blur together for me, too wordy, hard to follow, and ultimately forgettable.


But Evita is different. Yes, some lyrics are dense, but the iconic moments cut through. My favorite, of course, is Don’t Cry for Me Argentina, performed uniquely in this version from the theater’s outdoor balcony and projected onto a screen for the live audience. It’s a brilliant nod to Eva’s performative devotion to the public and her carefully curated image.


Some critics have taken issue with Lloyd’s decision to have this pivotal number directed outward to the public square rather than inward to the theater audience. Personally, I thought the choice deepened the narrative. It emphasized Eva’s craving for mass adoration and blurred the line between political theater and personal truth.


That said, Lloyd’s signature stylistic swings don’t always land for me. In his Romeo and Juliet (which I saw in summer 2024), the constant live video feed of the actors projected on-screen felt more distracting than immersive. It broke the theatrical spell rather than enhancing it.


I respect Lloyd’s bold vision; he clearly has a defined aesthetic but I believe techniques like these are most powerful when used sparingly. In Evita, the projection and staging amplify the story. But overused, they can weaken the impact of live performance, which is, after all, the beating heart of theater.


Costume Design: A Study in Contrast

Most of the cast is costumed in drab gray, depression-era, think Hunger Games reaping style garb. The upper class, by contrast, is dressed in lazy, gaudy gold. Maybe it’s meant to be unflattering... but honestly, the fabric choice is just ugly. As a designer I shiver when I see foil like fabric.  


The standout? Eva’s costume for Don’t Cry for Me Argentina is the only truly elaborate look in the show. It’s a visual crescendo and a reminder of the iconography that made her a legend.


Set Design: Minimalism That Works

Jamie Lloyd is infamous for minimalism. In Romeo and Juliet, I thought it fell flat bleak and dependent on Tom Holland’s star power. But in Evita, it works.


The stage is stripped to bleacher like stairs and a massive, glowing EVITA sign. That’s it. But it’s enough. The starkness mirrors the political intensity and emotional isolation of Eva’s journey. Watching Eva and Che physically battle for higher ground on the staircase is brilliant symbolism.


Final Thoughts

This production was bold, emotionally rich, and thematically sharp. Lloyd’s vision amplified the contradictions within Eva Perón: a working-class champion wrapped in diamonds, a woman adored and despised, a symbol of hope and a warning.

Thank you for reading Insightful and Artisans! If you enjoyed this review and want more commentary on live theater and performance, don’t forget to like, subscribe, and share!


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