Oh, what a circus, oh what a show, Jamie Lloyd has indeed gone to town! The much-anticipated Evita opened to several standing ovations, leaving its leading lady speechless and creating a new generation of Lloyd Webber and Tim Rice fans.
The tale of power, politics and perception that first catapulted Elaine Paige to stardom demands a lead with undisputed star quality, and the latest Evita on the block is Hollywood and Broadway star Rachel Zegler, who, much like her character, has experienced a rapid and bumpy path to a dizzying level of fame. With power poses, pouts and a cheekily arched eyebrow, her act one Evita is all schemes and dreams, until reality starts to bite and we are afforded some genuine emotion. She gives a stunning vocal performance, matched by a carefully curated physical one, her small frame that initially dazzles looking increasingly vulnerable, her sequinned shorts still twinkling as Evita’s star starts to fade.
In what is now becoming a Jamie Lloyd calling card, the stage is pared back, large, raked steps fill the downstage area and upstage the name "Evita" stands in capitals letters as it might at a stadium gig for a pop star. Indeed, there is almost a concert feel to the whole production, which is visually an assault on the senses and never loses sight of its own theatricality.
The choice of Soutra Gilmour's costumes is at first disappointing, the blacks and greys not capturing the bright, joyful mood of songs such as "Bueonos Aries", however, it later becomes clear that this choice gives the ensemble a uniform, and one that enables them to morph from adoring fans to discontented mob. Echoing this, Fabian Aloise’s muscular choreography fills the stage veering from angular to wild, the ensemble literally taking strides to fill the entire stage, their almost constant presence lending a sense of oppression and militant urgency.
But the cast aren’t the only ensemble doing crowd work. Much has been written already about the decision to stage "Don’t Cry for Me Argentina" on an external balcony, and opinions vary as to whether it’s simply a stunt or a clever commentary on theatre accessibility. I will admit to having been sceptical, but the result is electric, with Peron watching on with pride as Evita’s face fills the big screen. The crossfades to include the people in the street watching with admiration underscore the emotion of the moment, and the carefully considered angles mean that Zegler effectively makes eye contact with the theatre audience—a powerful moment and the first time we see her in her First Lady finery.
As Peron, James Olivas gives an excellent, deliberately rigid performance, every inch the army man, but due to the subdued costuming often gets lost in the crowd during some of the larger numbers. His first meeting with Evita is neatly staged, however, and their slow walk to each other clearly emphasises the meeting of mind as well as body.
The other man in Evita’s life is Che, the ever-present narrator, although for this version more of a conscience, the mic constantly being removed from his hand in displays of oneupmanship. Diego Andres Rodriguez has great stage presence, and his Che taunts and probes Evita throughout. His and Zegler’s gameplay brings flashes of chemistry and cheekiness that helps to give act one some light moments and contrasts strongly to his later treatment at her hands. Vocally commanding, Rodriguez attacks the famous lyrics with swagger and, helpfully, with generally excellent diction too.
That’s not to say this production is perfect; sometimes sound quality gives way to sheer volume, and the lack of specific time period or season left many reaching for their phones in the interval to Google the plot. That’s not a new issue for this show, but the nature of this staging means that it doesn't even attempt to solve the problem. Similarly, the almost breathless speed at which the production progresses and the proxemics of some of the staging means that the emotional heart has to be worked up to, and some of the excitement of the storytelling, particularly in act one, is lost to a harder edge.
However, this is an Evita that pulsates with energy, with aggression and with passion, pushing it into the realms of theatrical spectacle. In the hands of Alan Williams, the score sounds superb, and with such a talented cast delivering the goods, I have no doubt this version of Evita will become high flying adored.