Rachel Zegler’s ‘Evita’ Stuns London Crowd With Surprise Song/ Newslooks/ WASHINGTON/ J. Mansour/ Morning Edition/ In London’s new “Evita” production, Rachel Zegler performs “Don’t Cry for Me, Argentina” from a balcony, drawing crowds outside the theater. Though streamed to audiences inside, some paying patrons express disappointment. Director Jamie Lloyd’s offstage staging adds cinematic flair and a populist touch to the musical.
Rachel Zegler’s ‘Evita’ Performance Quick Looks
- Zegler sings iconic song live from Palladium balcony
- Performance streamed inside, but free to passersby
- Director Jamie Lloyd known for unconventional staging
- Some ticketholders upset over offstage execution
- Lloyd Webber defends moment as “extraordinary theatricality”
Rachel Zegler’s ‘Evita’ Stuns London Crowd With Surprise Song
Deep Look
Rachel Zegler has taken London’s West End by storm—not just on stage, but from above the streets. In a bold creative twist during previews of a new production of Evita at the London Palladium, Zegler steps onto a real exterior balcony to perform the iconic number “Don’t Cry for Me, Argentina.” As she sings to an audience gathered outside the historic venue, her live balcony performance is streamed via video feed to theatergoers inside.
The unique staging choice instantly went viral, pulling in hundreds of spectators each night to witness the open-air moment, led by the Snow White and West Side Story star. Andrew Lloyd Webber, the show’s composer, lauded the moment as “extraordinary,” emphasizing how the real street crowd adds an authenticity to Eva Perón’s connection with the public—a connection that is central to the musical’s story.
“Within the theater, it’s really exciting because suddenly you see her with a genuine huge crowd, which you can’t do onstage,” said Lloyd Webber. He acknowledged that some might be disappointed not to hear the famous number live from their seats, particularly with tickets selling for as much as £245 ($330). Still, he believes the bold use of live video and cinematic immersion far outweighs traditional expectations.
Director Jamie Lloyd is no stranger to pushing theatrical boundaries. His previous productions have placed actors in public spaces, including performances on rooftops and street-level scenes. In his version of Sunset Boulevard, a character famously sang while walking past the theater. His version of Romeo and Juliet had actor Tom Holland deliver a climactic scene from the rooftop.
While some theatregoers have voiced frustration online and in interviews—especially those for whom attending a show is a rare luxury—others have praised the innovation. Theater blogger Carl Woodward expressed understanding for patrons feeling shortchanged, noting that “a trip to the theater for some is really a once-a-year occasion.”
Despite the backlash, Lloyd Webber highlighted a column in The Times of London which argued that the approach was exactly in the spirit of Eva Perón herself—a populist icon known for connecting with everyday people. “People are actually experiencing her big anthem for free,” the article noted, capturing the unique blend of populism and theatrical showmanship that defines both Perón and this bold staging.
Zegler, already celebrated for her vocal talent and rising Hollywood profile, brings emotional nuance to the moment, projecting the character’s deep ties to the public while standing amid real Londoners. As Evita continues its run, this one-of-a-kind scene has redefined the traditional boundaries of musical theater, offering a memorable intersection of street performance and stagecraft.
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