Evita @London Palladium review

 

Jamie Lloyd’s re-interpretation of Tim Rice and Andrew Lloyd Webber’s timeless classic is noisy, sensual, clever and epic!

 So…I saw Rachel Zegler serenading Argentina on the balcony of London’s Palladium theatre on Wednesday evening, then the following night the full production itself only halfway through Rachel was substituted by her alternate Bella Brown for the balcony scene and the rest of the production. I’m not sure when Jamie Lloyd took on re-inventing Evita for the modern age, he envisaged a change of physical appearance for Eva Peron halfway through but it wouldn’t be too surprising! This is a full blooded, boisterous version that fills the venerable Palladium with attitude.

 

In fact, what happened was likely over exertion after a matinee performance earlier though we didn’t find out exactly what had happened but it meant a longer intermission and then the chance to share in an unusual theatreland happening. Alternates and swings often replace bigger stars but its usually billed earlier in the night and is for the whole performance. There was no indication of anything untoward as far as Rachel Zegler was concerned; in fact she seemed to ooze energy and vitality as she essayed Eva’s early progress through a series of boyfriends, each of whom helps advance her fame before she moved on. Finally, she meets Colonel Peron and begins her ascent to power and into the hearts of the Argentinian people. Rachel seemed to perfectly capture the self-belief of the character despite her small frame looking even tinier amongst a troupe of burly dancers and singers. Small in aspect but large in strength, her energy brought a focus to the dervish like happenings around her.

Jamie Lloyd’s signature moment occurs after the interval and has not been without controversy for Eva performs the show’s best-known song `Don’t Cry for Me Argentina` through a window into the street outside where large crowds assembled each night much to the chagrin of nearby businesses. This bold piece of theatre turns those watching below into the Argentinian people with whom Evita claims to represent and having paid quite a lot to see the show I wasn’t sure about such an iconic scene being shown to us on screen while people outside get to see it for free. Yet it makes perfect sense within the fiction of the production- outside Evita appeals to the lower classes, the peasants, the farmers. If you’re going to see this production, I would advise you also see this scene either the night before or after; it happens at roughly 8pm each night.

In fact, Bella Brown had already played the role once before the previous week when Rachel Z had a night off. The audience might have become disappointed or restless but when the production re-started with Bella walking through the gilded corridors of the theatre to the balcony the show really did go on as if nothing had happened. Having been lucky enough to see both versions I couldn't separate them and it would be unfair to do so. The moment itself is a breathtaking piece of theatre that is so simple an idea in a way, you wonder why nobody has thought to do it before. Though I wouldn't imagine you could do it in darkness at wintertime. For the theatre audience we see this on a large screen with additional scenes as Eva walks through the corridors towards the balcony and then when removing her make up after the speech. It feels so original, almost as if tv and stage have merged together 

Bella had already impressed with her earlier rendition of `Another Suitcase in Another Hall` and when she finally stepped onto the stage itself it was to such a roar of approval I don’t know how she maintained her composure. It’s fantastic to see an audience support an alternate like this and it felt appropriate in a story where it was the public’s support for Evita that allowed her to remain in her powerful position despite disquiet from Argentina’s elite. While it was slightly disappointing not to see Rachel Z’s take on the darker, more melancholy second haff of the show Bella was tremendous and I am sure she will have a lead role wholly of her own before long. She received a well deserved and warm standing ovation at the end.

This is definitely a bold take on Evita bringing it right up to date. Performed on a series of tiered steps in front of a massive Evita banner and, behind a curtain, a noisy, rock prone orchestra (occasionally a little too loud I felt) it tears into the classic songs at speed roaring through the first hour with purpose. Visually its sensual, moving away from the more buttoned up, neat realism to characters in utilitarian costumes which more often than not were partially shed. The Che character in particular seemed to become more feral as the production developed, a bold performance from Diego Andres Rodriguez who ends up covered in paint!

 During the more aggressive songs (notably `A New Argentina`) with pulsing lights postponed on each step and modern choreography it was almost a concert albeit one that shares something of the flag waving patriotism of Les Misérables. The total effect is breathtaking and all powerful. Though there is no attempt to place it in its historical context save for odd references to other countries, this is not mere empty spectacle. Each routine perfectly underscores the song it is supporting and remarkably though the look of the production is different, the story is still the same with occasional corner cutting. It proves that Tim Rice and Andrew Lloyd Webber’s genius idea to turn the story of Eva Peron into a musical still feels fresh, relevant and open to rejuvenation more than fifty years on.