Theatre Review: Ebita
Palladium in London, England.
London – One of the most talked-about spectacles currently on stage isn’t even confined to the performance itself. It’s taking place on the balcony outside the London Palladium during “Ebita.”
The remarkable Rachel Zegler, embodying Eva Peron, steps out for a breath of fresh air and delivers “Don’t Cry for Me Argentina.” On the night I attended, the audience erupted with cheers as cameras captured the fervent crowd.
Many theatre enthusiasts instinctively turned to their screens. Sure, there are countless projections out there, but this particular one feels substantive. The crowded theater seamlessly transforms into a representation of the working class, reflecting the populist power that propelled Juan Peron into the Argentine presidential spotlight in the 1940s.
Director Jamie Lloyd has devised a clever method for creating an almost authentic gathering, leaving an impression that is both striking and memorable. This bold revival of Andrew Lloyd Webber and Tim Rice’s “Evita” has been one of the most vibrant adaptations in years.
Nicole Shelsinger and Auther Lloyd, alongside the popular Lloyd Webber, continue their unconventional yet successful partnership reminiscent of Broadway’s stunning “Sunset Boulevard.” Yes, there are clear parallels between the two.
Once again, reality and history intertwine. The modern, alluring outfits draw from contemporary styles, showcasing the characters in a way that is both reinvigorating and thrilling.
However, despite similarities, the vibes have a distinct energy unique to this production. The ambiance shifts as the powerful scenes morph from glamorous to gritty, capturing the essence of a city filled with life and passion.
The first lady of Argentina, depicted in a quick succession from a poverty-stricken girl to a glamorous actress and finally as a formidable force, is portrayed as a iconic figure who remains lingering in memories even after her untimely death at just 33.
In this vision by Lloyd, Zegler shines exceptionally bright. Having moved on from “Snow White,” she presents a striking Evita. Her rise from humble beginnings to a relentless quest for power is captivating.
For instance, when she appears on the balcony, Zegler dons a classic white dress and blonde wig, soothing the audience like a sweet songbird. Yet, back inside the Palladium, the atmosphere shifts dramatically as she trades that gown for a black bra and lace-up boots, reminiscent of iconic performances by Madonna.
Welcome to Eva’s Ambition Tour. As she leads her husband’s political campaign chant in “New Argentina,” her fierce vocals soar. The transformation is remarkable, most notably in “Rainbow High,” where she delivers a breathtaking performance.
Lloyd Webber’s scores are arguably among his best, heightened by Zegler’s fierce presence and the dynamic choreography led by Fabian Alloys. His contributions, which could easily merit co-directing credit, elevate numbers like “Rainbow Tour” into exuberant spectacles.
The show blends heartfelt emotion with raw energy, creating a vibrant and audacious atmosphere.
Zegler is commanding, showcasing a remarkable evolution from her previous performances. She’s not just about playing Eva; there’s a deeper resonance that draws the audience in.
Diego Andres Rodriguez emerges powerfully as Che, the narrator who dissects the Peronist movement while connecting with the audience through his relatable presence. His portrayal of contemporary activists resonates well, contrasting against the traditional depictions of protestors.
Completing the triangle is James Olivas’s imposing Peron, who feels as if he belongs on a magazine cover rather than a stage. He possesses an electable charisma that complements Zegler’s portrayal beautifully.
As the couple faces both personal and political challenges, the emotional toll becomes palpable, particularly when Zegler and Olivas deliver stunning renditions of “You Need to Love Me.”
Another standout is Peron’s vulnerable mistress, portrayed tenderly by Bella Brown. Her poignant rendition of “Another Suitcase in Another Hall” encapsulates a haunting sense of loss.
This revival possesses an undeniable allure, though some may argue that the narrative can be hard to follow. The abstract set, featuring “ebita” illuminated behind, certainly offers a unique aesthetic while encapsulating the tumultuous journey of Eva Peron—loved, yet equally divisive.
As for Lloyd’s latest innovations, audiences are likely to have strong reactions. After all, it’s difficult to forget the resonance of “Ebita.”
So, what does the future hold? “Ebita” absolutely deserves to grace Broadway soon. This revival exhibits significant improvements from past renditions and offers just the kind of shock and excitement that Broadway welcomes. It stimulates conversation and captivates audiences.
A few tweaks might be in order, particularly regarding moments that come off as overly comedic, but the raw energy is undeniable. As the fierce protagonist declares, perhaps the sky’s the limit.
