Evita (2025): The eternal dynamics between theatricality,myth and power

Abstract

This review examines Jamie Lloyd’s 2025 London Palladium production of Evita as a modern reinterpretation of the enduring interplay between theatricality, myth, and power. Stripped of spectacle and performed with minimalist sets, fragmented choreography, and stark lighting, Lloyd’s staging reveals how political charisma is built and challenged. A key aspect of this interpretation is a provocative casting choice: Rachel Zegler, a young Latina celebrated for her performing capabilities and central to debates on wokeness, plays Eva Perón and turns away from the audience to sing the show’s most famous song to passersby on the street while the paying audience watches via livestream. This choice raises questions about audiences, visibility, and the politics of inclusion. The review discusses how the musical engages with ongoing debates about Eva Perón’s symbolic role—saint, manipulator, or populist icon—and argues that Evita illuminates two interconnected ideas: the theatrical nature of organizational action and the importance of mythmaking in stabilizing authority. Eva Perón’s career, shaped by radio acting, scripted performances, and ritualized public appearances, exemplifies how leaders craft visions, rally emotions, and build charismatic legitimacy. Lloyd’s staging mirrors these dynamics while connecting them to the performative repertoires of contemporary political figures such as Donald Trump, Javier Milei, and Volodymyr Zelensky, as well as corporate performances that emphasize spectacle and storytelling. Ultimately, this review argues that the production shows how myth and theatricality continue to play a vital role in how leaders, organizations, and the public negotiate power.