Jamie Lloyd-helmed EVITA revival to play the London Palladium in 2025 — Page 26

CATSNYrevival said: "Still no cast album news?"

Really hoping for a studio recording! But of course I'd take a live recording.

Are instruments added to the orchestra when a cast recording is completed in the studio? I'm sure it depends on the musical.

Don't get me wrong, the orchestra sounded amazing the Palladium. The orchestral moments during Surprisingly Good For You before "There is no one, no one at all, never has been..." and Dice are Rolling and Montage in the second act were so full and satisfying without being too loud.

(I'm sure this has been discussed over these 25 pages).

Auggie27 said: "Ah, you young uns in this thread, seeing the iconic B'way production's television commercial for the first time (at least to study it). I moved to NYC that autumn (and saw the first preview, 9/10/79 the day I signed a lease at the Beacon Hotel; yeah, don't ask), and the commercial was on daily, during the local break-away on Today. We all got used to it, and it became one of the best advertising tools of the day. It was also used with the national company, even though none of those stars appeared. I feel such emotional reconnection to my youth whenever I see it."

Wow, I bet that first preview was magic??

Offer it at https://theatreboard.co.uk/

You can tell she’s being more careful with vocal placement and there’s some flatness sometimes and occasionally breathy notes that are barely there, so it’s definitely a vocal fatigue issue. She’s far less strident than the earlier videos we’ve seen. Hopefully that will all resolve and there won’t be any permanent issues.

https://www.instagram.com/reel/DMlIOwBNchA/

SteveSanders said: "bear88 said: "What’s the best way to sell a single ticket toEvita? Someone I know, in London, has an extra one for the show in a few days."

I posted one on Twickets, the official reseller, and it sold in about 5 minutes. It is like Theatr app here.

https://www.twickets.live/en/uk

"

Theatreboard also has a notice board to buy and sell tickets (although I've never used it). You may need to register to access it. People also seem to then post that the ticket is available in the Evita thread in the Musicals forum.

https://theatreboard.co.uk/board/27/noticeboard

Updated On: 7/26/25 at 08:44 PM

SteveSanders said: "bear88 said: "What’s the best way to sell a single ticket toEvita? Someone I know, in London, has an extra one for the show in a few days."

I posted one on Twickets, the official reseller, and it sold in about 5 minutes. It is like Theatr app here.

https://www.twickets.live/en/uk

Did you price your tickets at a steep discount? Twickets doesn't seem to move nearly as fast as the Theatr app - for anyone - or at least it hasn't this weekend for Evita performances early this week. This may be because people wait until the last minute, or perhaps because Twickets is just different. I'm trying to offer advice.

Apparently the director and choreographer are doing a talk back after the show today

I caught Evita again this evening - first since the first preview. I could cry. Rachel is still in EXCELLENT voice. In fact, her Rainbow High is even stronger than the first preview. I don’t currently have any concerns about her longevity in the role. Diego’s vocals are also stronger too.

When the first preview happened I suggested the balcony scene would be better if they showed the crowd in the shot. Well, to my surprise they now do. You can see the wild and massive crowds all crowding around with their phones lapping it up while Rachel performs to them from the theatre, and the effect is as expected - it’s truly one of those very special ‘coup de theatre’ moments. A black mirror episode in real life where a theatre director has managed to bait the general public into performing as extras and feeding into the whole subtext of the show about how she is putting on a show (I guess literally AND metaphorically) and a facade to the public, confirmed by her wiping her eyes dry of tears when she is done. As an aside, the screen actually malfunctioned briefly and the audience gasped but it started working again. I would feel very, very short changed if it didn’t work.

This is very, very special. I think I would say it’s the most ground breaking piece of staging innovation I’ve ever seen. It makes the sunset second act opening, which was almost a technical proof of concept for this, seem like child’s play because it doesn’t match the weight of the dramatic subtext of this moment and the role of the real life crowds.

At this point, I could not roll my eyes further into the back of my head of lame internet people especially those that haven’t seen the show complaining or suggesting they are sick of Jamie Lloyd now etc. Shut up and listen - theatre history is being made right now. After an inevitable transfer and success in NYC, this production and Rachel’s performance will become an iconic piece of theatre history. This is getting serious now.

The standing ovation at the end lasted several minutes and felt more like a closing night than a random weeknight mid run.

It was so intense that Rachel’s co-star briefly put his arm on her shoulder to acknowledge what was happening and comfort.

This isn’t typical and this is very unusual especially for London. Something is happening.

Someone on theatre board suggested this is the most successful show at the palladium since Judy Garland. I don’t know if that’s true at all, but the excitement sure feels like it could be true.

Updated On: 7/31/25 at 05:58 PM

Forgive my ignorance or if this has already been asked, but does Zegler sing this in the original key? I was trying to compare LuPone clips and some bootleg snippets online, but I just don't have the ears for this sort of thing.

I ask because somebody commented on one of the bootleg snippets that Zegler is singing in a lower key. But it sounds the same to me...

binau said: " Someone on theatre board suggested this is the most successful show at the palladium since Judy Garland. I don’t know if that’s true at all, but the excitement sure feels like it could be true."

Depends on what their definition of successful is. The 1991 Palladium production of Joseph was a massive hit, ran for 2.5 years, the cast recording was no.1 on the album chart for a few weeks, Any Dram Will Do was no.1 on the pop charts for weeks and spawned replica productions around the world.

I know that didnt rquire an literal answer lol, but I get what they mean because the production really does generate that kind of atmosphere and energy in the room.

Crusty Bagel said: "

Oh my goodness this repels me. This will absolutely collapse if it comes to ny. Word of mouth will be devastating and it will die a quick death. At least Sunset had a certain eleganceabout it that I liked, Evita has nothing!!!"

Your response reminds me of that of an older woman from Florida who sat next to my daughter at the London Palladium 10 days ago. She hated the revival and kept telling my daughter how much she hated it during intermission, even though my daughter didn’t respond. So it’s not for everyone, though I was appalled by the woman’s violation of one of the unspoken rules of theater: Don’t trash the production inside the theater even if you hate it.

My daughter’s response? She liked the production so much that she snagged a reasonably priced ticket for later in her London vacation. (Finding a reasonably priced ticket is not easy at this point.)

The Evita revival is certainly a massive hit in London. More than that, it’s a must-see event. We’ll see how that translates to Broadway.

bear88 said: " The Evita revival is certainly a massive hit in London. More than that, it’s a must-see event. We’ll see how that translates to Broadway."

I mean if it worked for Sunset at the St. James, I see no reason why it shouldn't for Evita.

I wonder if there will be a cast recording of this show. I must say, Rachel Zegler sings the material wonderfully. She was great when I went and her renditions of the balcony clips and other recordings are always great. But I did not really like the DCFMA single. Both the studio version and the "live version" did not do her justice (probably recorded on stage during soundcheck without an audience). Literally every other time she sang it (hundreds of clips and when I saw it) was better.

I think they should record 5 shows randomly, without the cast being aware of which shows they are. And then compare and pick the best parts.