Stunning Presentation Lacks Storytelling
The audience erupts with applause as the cast takes their curtain call, featuring the bare-chested leading man smeared in blood. This isn’t Jamie Lloyd’s version of “Sunset Boulevard,” but rather his production of “Evita.” Both shows by Andrew Lloyd Webber share high production values, with powerful lighting and sound that transform this version into something reminiscent of a rock concert. However, in this spectacle-driven performance, the narrative has been overshadowed. First-time viewers may find themselves confused and are advised to consult a synopsis beforehand, as the depth of character and plot is sacrificed for visual flair.
Defining Quality of the Show
“They must have excitement,” belts out Rachel Zegler as Eva Perón, capturing the essence of this production. Gone are the original’s iconic black-box setting and the more authentic Argentine revival helmed by Michael Grandage, where Lloyd served as assistant director. Instead, the production closely resembles Lloyd’s own 2019 staging at Regent’s Park Open Air Theatre, featuring a minimalist grey staircase as the central set piece.
Drama Flattened by Minimalism
While the stark setup provides a clear view of the dedicated dancers, it compresses the dramatic elements. The lack of unique settings diminishes the impact of individual scenes, making subtle hierarchies and emotional shifts hard to discern, thus muddling the storyline.
Strong Performance Amidst Controversy
Prior to the show’s premiere, speculation about “artistic differences” between the director and the lead actress circulated widely. However, Zegler’s vocal performance is both confident and thrilling, showcasing her vocal prowess. Her standout notes resonate through the crowd, providing a dynamic experience throughout her extensive vocal range.
Innovative Yet Distracting Techniques
During the initial preview, Lloyd incorporated an intriguing video element that drew significant media attention. Following in the footsteps of Ivo Van Hove, he presented Zegler’s Eva on an actual balcony, mimicking Perón’s Casa Rosada, while a sizable outdoor audience gathered to watch her sing “Don’t Cry for Me Argentina.” This intriguing display shifts focus, making the emotional connection with the character feel more superficial and heightening the sense of manipulation both from Eva and Lloyd.
Complex Characters Reduced to Stereotypes
Unfortunately, this marked a shift in Zegler’s portrayal of Eva. Initially, she presents a one-dimensional character, indulging in a seductive persona without any growth or change. A similarly muted emotional depth affects the performance of Bella Brown, whose moment in “Another Suitcase in Another Hall” lacks the intended poignancy due to forced intensity.
Technical Mastery Overshadowing Depth
While “Evita” undeniably centers on Eva’s character, the production relies heavily on strong male counterparts for support. Che, played by Diego Andres Rodriguez, is sly but lacks chemistry due to the minimalist characterizations. While Lloyd’s creative team successfully generates continuous excitement, the musical’s themes, which explore populism and the rise of a compelling yet flawed heroine, ultimately feel diminished. The choreographed dance routines captivate audiences visually but prioritize style over narrative substance, leaving an impression of spectacle rather than storytelling. Jon Clark’s lighting enhances the technical aspects flawlessly; yet beneath this dazzling surface lies a subtle neglect of the emotional depth that Rice and Lloyd Webber intended for their work.
