Jamie Lloyd-helmed EVITA revival to play the London Palladium in 2025- Page 12

[BJR]

Posted: 6/14/25 at 7:46pm

I wish there was a way to filter people trying to catch consistencies in directors' productions. It's so tiresome.

Is Lloyd going to use similar devices as Sunset? Yes. Is Casey Nicholaw going to have a tap number? Yes. People have styles, even the ones you don't associate it with, simply because theirs are more common or traditional. 

This looks like it has more costumes than Regency 19, yes? Can anyone speak to the differences yet? It also seems like more costumes than Sunset, which is interesting. Almost looks like Eva is slowly "dressed" during the course of the evening?

[CJRochester]

Posted: 6/14/25 at 8:00pm

jacobsnchz14 said: "Source: Twitter







"

That same Twitter account has a clip of her Don't Cry For Me... on the balcony. Stunning!!!

 

Updated On: 6/14/25 at 08:00 PM

[MemorableUserName]

Posted: 6/14/25 at 8:15pm

For those not on El*n's hellsite, there are:

clips  on YT  as well.

[rosscoe(au)]

Posted: 6/14/25 at 11:03pm

Why put her in the white gown and blonde wig on the balcony for “Don’t Cry” if you’re putting her in shorts and dark hair for the rest of the show? 

[Bwaygurl2]

Posted: 6/15/25 at 12:54am

rosscoe(au) said: "Why put her in the white gown and blonde wig on the balcony for “Don’t Cry” if you’re putting her in shorts and dark hair for the rest of the show?"

Because she looks good. Why should she wear the same outfit throughout? 

[FLarnhill]

Posted: 6/15/25 at 1:08am

Voter said: "binau said: "EVITA is sunset boulevard 2.0, not the regent’s park production (although it uses some of the architecture including some of the choreography).

Rachel is in the best way, a monster. Conceptually, it’s tapping into that dystopic young ambitious obsession of fame and power. Her vocals are the best, ever. She effortlessly navigates the entire score and makes even the extremely high notes enjoyable.

A New Argentina was an incredible showstopper with extremely powerful belt anda thick vibrato that reminds me of only the most powerful diva belters.

If Rachel’s voice can do this every day she will be on Broadway with a Tony Award soon.

There is already a crowd building to watch the second act start from outside. We all know it’s coming.

Jamie Lloyd is sitting behind me I can see him on the aisle reacting to the show it’s very special.

"






I know rumors are rumors and everything is based on speculation. Is definitely coming to probably next spring?


People on the UK theater board are raving about this already but that’s only a few so I’m very worried.



I really hope Rachel has a career in musical theater

"

She definitely will, now that movies didn't quite work out for her. I don't say that to disparage her. This is where she belongs.

[TheatreMonkey]

Posted: 6/15/25 at 1:14am

rosscoe(au) said: "Why put her in the white gown and blonde wig on the balcony for “Don’t Cry” if you’re putting her in shorts and dark hair for the rest of the show?"

Seems pretty obvious, going off of binau's previous comment:

"the second act ‘stunt’ if you will is like an amazing, terrible black mirror episode in real life. It’s not just about Eva singing out it’s that the production/fame/celebrity has kind of caught/‘trapped’ people to watch who are in a meta way victims of this fame culture." 

Jamie Lloyd clearly plays with artifice, expectations, and meta-theatricality -- having her perform the big, iconic number in the big, iconic costume seems pretty on point.

[TBFL]

Posted: 6/15/25 at 1:55am

Well i liked this more than when I saw it at Regents Park and Zegler has a lot to do with that. She definitely has stage presence and can sing pretty much most of the score, though i do hope she finds ways to bring some more dynamics into the score as she gets some more performances under her belt.

Wasn't a fan of the actress who played the Mistress, her voice grated. Is she also the Evita alternate? I enjoyed the choreo and there are some nice flourishes here and there - liked the gold fans!

I hated that they used the outside balcony for Argentina, along with a brief internal walk to camera.

I thought the first half flew by, but the second half dragged for me. You must Love Me has movd and is now just bfore the Lament - i thought they had cut it. Alas, not.

Will i go back later in th run? unlikely.

 

[binau]

Posted: 6/15/25 at 4:27am

rosscoe(au) said: "Why put her in the white gown and blonde wig on the balcony for “Don’t Cry” if you’re putting her in shorts and dark hair for the rest of the show?"

I think this is a fair question, but if you saw the show you wouldn't ask it trust me haha. It all makes sense in the context. As others have picked up, the blonde wig and costume is part of the theatrical device about how artificial and fake she is. We actually see her take the wig off after the song. So what the 'public' see - warm, lyrical, sweet, made up in a beautiful wig and gown, is in fact all an act. What we see on screen is Eva manipulating the public (who are all crowding around lapping up - LITERALLY I mean look at the videos filmed from outside. It's like that white bear episode of Blackmirror where everyone has their phones up they can't help it, they can't turn away). it's all fake so it even seems fitting that it is on screen and not real. What we, the audience, see is the 'real' Eva. Cold, calculating, ambitious, starving for fame. It's almost sickening to watch her "Don't Cry For Me Argentina" because we know how fake it all is. 





Note: We can't actually obviously see how big the crowd is from the inside, they don't show us. I only knew it was big because I saw it crowding at intermission (I guess what you'd expect for first preview). I assume that they can't predict there will always be crowds so they can't build in a crowd shot by default, but if they could/if it turns out there is a small crowd each day I think it would be chilling if they did. 

One of the other major conceptual elements of the show is it's kind of presented like a high energy pop concert (which is very unlike Sunset). That is why her Eva has this skimpy black outfit - because she is kind of presented like an Ariana Grande type on her latest stadium tour but the reason why it works so well and why it's so chilling is we are being performed to with the stage presence, dancing, high quality vocals as if Eva really is a real mega pop star but the subtext of the whole thing is that we can see through the facade, we can see that she is letting her act drop in moments - her face tweaks out of place, or she loses patience and her eyes show her frustration, or she just has that kind of celebrity narcissistic face come through when she lets her guard down. The tone of the whole thing is almost like Margaret Qualley's character in "The Substance". In fact, the whole concept of the show I think would work extremely well as a movie musical where it could pan between say the real world and the hyper fast paced pop musical dance concert kind of world a bit like 'Chicago' film. 

The visuals of the show are very important and planned, right down to the exact body type and look of every character.

Rachel Zegler is the stunning, sexy, archetype of a beautiful young woman who will do anything and everything to seek fame and fortune. Her face and body are beautiful, but on the inside she is a callous monster who will easily let others suffer, at first perhaps as a means to an end to achieve her goals but by the end it almost looks like she is doing it for fun (with what happens to Diago's character throughout representative of this). At one point, she is literally grabbing Diego by the balls while he is in underwear. It feels like a satire of the worst kind of celebrity of modern day culture and - this is where there perhaps is similarities conceptually to Sunset almost as a companion - which is that they are both exploring modern celebrity culture but at different parts. Evita is rising celebrity and peak whereas Nicole's is on the opposite end of the time curve to fading away and neglect. 

Diego is the earthy, hunky commoner who will 'speak truth to power'. It doesn't seem like he has much money or a high end career, but he is so charismatic and attractive that there is a bit of sexual chemistry with Eva - and and very intense intimate bond because they both know who each other really are, Eva isn't fooling him for a second.

James Olivas is a very tall, white, ripped beast as a metaphor for a kind of privileged upper status - the complete opposite of Diego. The three of them look nothing alike and together make for such an interesting combination/look. He doesn't feel too young in this hyper conceptual interpretation (regardless of real life ages), I think what Jamie Lloyd is doing is keeping age a constant while manipulating every other variable to demonstrate the effect of class/status/power/privilege etc. Age is almost an easy way to do this, so to be able to do it without being able to pull the age lever is interesting. It might not work if they don't have the right look for this actor. 

Jamie Lloyd talking to fans after the show 



After the very long ovation the first thing he did was have a big hug with a colleague likely relief after things went so well



Andrew Lloyd Webber was also in the audience, and it is enjoyable wondering how happy he must be to have found a Director to make his work 'cool' and relevant after (Bad) Cinderella etc. 


As for differences with the Regent's Park version, I am not obsessed with ALW (unlike Sondheim) so I don't study every production I watch or see them multiple times, but this is my recollection:

* Similarities - the concert concept, use of microphones, definitely some of the choreography is reused (but if it isn't obvious from what I talk about I don't consider myself to be very expert when it comes to dance interpretation so I don't know enough to compare everything). For example, the REALLY cool, smooth, dance solo by the muscular black woman in I think "The Art of the Possible" I remember this was so striking from the 2019 production they repeat it here. I assume much of the ensemble choreography is repeated. The core set bleacher thing was also similar. 

* Differences - The lighting now that it's inside instead of outside, a lot darker, a lot more use of shadows etc. very much more like sunset; I THINK the costumes are mostly different and they do wear different costumes throughout depending on the part and 'act' - like Sunset there are a lot of monochrome moments but unlike Sunset there is also a lot more colour too at points. The use of video and Don't Cry For Me concept etc.

Rachel has an AMAZING Entrance, I don't really want to spoil it but it was so fun. 

The show was reasonably polished, but I did notice a couple lighting cues need to be tightened up and the sound squeaked a couple of times. And maybe there were some moments in act two that seemed to drag a little, but I think this is more likely in the writing than the production.


The act one closing "A New Argentina" they have streamers and everything go into the audience. So it's actually another real showstopper like a Phantom Chandelier perhaps. 

The sales look strong and the early word of mouth on 'that other board' appears positive. I think Jamie has another hit on his hands!! 



 

Updated On: 6/15/25 at 04:27 AM

[Bwaygurl2]

Posted: 6/15/25 at 8:43am

Thanks for sharing these early reports. It sounds exciting! 

[rosscoe(au)]

Posted: 6/15/25 at 9:34am

Binau. Thank you for that brilliant explanation.

[PipingHotPiccolo]

Posted: 6/15/25 at 10:37am

BJR said: "I wish there was a way to filter people trying to catch consistencies in directors' productions. It's so tiresome.

Is Lloyd going to use similar devices as Sunset? Yes. Is Casey Nicholaw going to have a tap number? Yes. People have styles, even the ones you don't associate it with, simply because theirs are more common or traditional.

This looks like it has more costumes than Regency 19, yes? Can anyone speak to the differences yet? It also seems like more costumes than Sunset, which is interesting. Almost looks like Eva is slowly "dressed" during the course of the evening?"

CONSISTENCIES is a real interesting way of saying "he closes another show with the male lead dripping wet in skintight black underwear because hes all shtick no substance" but sure.

[MemorableUserName]

Posted: 6/15/25 at 10:53am

The guy clearly has a fetish. No need to kinkshame. 😏

[Bwaygurl2]

Posted: 6/15/25 at 10:54am

BJR said: "I wish there was a way to filter people trying to catch consistencies in directors' productions. It's so tiresome.

Is Lloyd going to use similar devices as Sunset? Yes. Is Casey Nicholaw going to have a tap number? Yes. People have styles, even the ones you don't associate it with, simply because theirs are more common or traditional.

This looks like it has more costumes than Regency 19, yes? Can anyone speak to the differences yet? It also seems like more costumes than Sunset, which is interesting. Almost looks like Eva is slowly "dressed" during the course of the evening?"

Yep. The discourse (from people who have only seen a couple photos) around this production is already exhausting.

At the end of the day, if a director is able to coach exciting performances from his cast, I don't mind some elements being repeated. 

[inception]

Posted: 6/15/25 at 11:22am

MemorableUserName said: "The guy clearly has a fetish. No need to kinkshame. 😏"

Poor Suzie Toase.  The first time he did it she probably should have realized something was up.  So bored by 40 year olds who finally come out and f up their wive's & kid's lives.

Updated On: 6/15/25 at 11:22 AM

[abcd12]

Posted: 6/15/25 at 11:49am

So now we’re making assumptions about Jamie Lloyd’s sexual proclivities, personal life, and relationship with his ex wife and son.  

Please get lives. 

Pathetic. 

And so many of you profess to hate his work so deeply, but still can’t refrain from posting about it every ten minutes.

Get. A. Life. 

[ER765]

Posted: 6/15/25 at 11:53am

abcd12 said: "So now we’re making assumptions about Jamie Lloyd’s sexual proclivities, personal life, and relationship with his ex wife and son.

Please get lives.

Pathetic.

And so many of you profess to hate his work so deeply, but still can’t refrainfrom posting about it every ten minutes.

Get. A. Life."

AND b*tching about a production none of them have even seen yet. 

[MemorableUserName]

Posted: 6/15/25 at 11:57am

My comment was intended a lighthearted joke, as I thought the emoji would have made clear, but naturally this board is humorless. I don't know anything about Lloyd's private life.

Nice to see some of you have suddenly developed respect for creatives' privacy though.

[theatergoer3]

Posted: 6/15/25 at 12:14pm

On the other board - the Vivian Beaumont, Majestic, Kerr and St. James seem to be the favorite for a transfer or future life based off of balconies. 

It is a joke that everything has rumors/plans but after the Tony’s (with Nicole. Sarah, Jak and Sunset repeating) + Sunset’s success, I think this would make sense. The production sounds terrific. 

There’s also a rumor of an LCT Showboat. 

[bear88]

Posted: 6/15/25 at 12:23pm

Binau, I second the praise for your review, which both explains the conceits of the revival while highlighting what you thought worked. It is, however, making me regret not seeing a more traditional production of Evita. (There was a local production not long ago, but some life stuff happened and I missed it.)

I had seen Sunset Blvd. before, both the film and the Glenn Close production in Los Angeles, so I didn’t have to worry about the plot - just the interpretation. How comprehensible would this show be for someone who has never seen Evita?

[abcd12]

Posted: 6/15/25 at 12:23pm

MemorableUserName said: "My comment was intended a lighthearted joke, as I thought the emoji would have made clear, but naturally this board is humorless. I don't know anything about Lloyd's private life.

Nice to see some of you have suddenly developed respect for creatives' privacy though."

Oh I forgot about your legendarily hilarious sense of humor! Tell us another one!! 

[inception]

Posted: 6/15/25 at 12:47pm

MemorableUserName said: "My comment was intended a lighthearted joke, as I thought the emoji would have made clear, but naturally this board is humorless. I don't know anything about Lloyd's private life.

Nice to see some of you have suddenly developed respect for creatives' privacy though."

He & his boyfriend posted photos of themselves together on their Instas & he spoke about it in Vanity Fair.  So it's pretty public. 

[TheatreMonkey]

Posted: 6/15/25 at 12:57pm

bear88 said: "Binau, I second the praise for your review, which both explains the conceits of the revival while highlighting what you thought worked. It is, however, making me regret not seeing a more traditional production ofEvita. (There was a local production not long ago, but some life stuff happened and I missed it.)

I had seenSunset Blvd. before, both the film and the Glenn Close production in Los Angeles, so I didn’t have to worry about the plot - just the interpretation. How comprehensible would this show be for someone who has never seen Evita?"

I think it's worth pointing out that the original production of Evita wasn't all plastered columns and sun-weathered shutters -- the scenic design was actually quite minimal and relied on recent advances in lighting and projection. Yes, they had a balcony for the iconic scene, but it was primarily just scaffolding. Lights in the stage deck and masses of projections of historical photos and newspapers set the scene. Hal Prince intentionally wanted a more liminal space to explore the character's choices, as opposed to historical realism. 

So, this production is seemingly more similar to the original than the Rodgers-Martin revival which went more literal. 

Updated On: 6/15/25 at 12:57 PM

[Kad]

Posted: 6/15/25 at 1:17pm

I mean, Evita as a show is itself conceptual. It is not a traditional book musical- it is a series of musical numbers that illustrate events or ideas. I don't think it really can hold up if you try to make it a realistic or literal production. 

Updated On: 6/15/25 at 01:17 PM