“Evita” Revival Stirs Controversy with High-Tech Spectacle
A new “Evita” production in London sparks debate, swapping deep storytelling for a dazzling display of technical prowess, and raising questions about artistic choices and the impact of spectacle over substance in modern theater. The show’s reliance on live filming and high-octane effects is turning heads, but is it at the expense of the narrative’s emotional core?
A Rock Concert, Not a Musical?
The latest “Evita,” directed by Jamie Lloyd, diverges sharply from earlier interpretations. It leans heavily on a rock concert aesthetic, complete with intense lighting and sound design, sacrificing the character depth and plot clarity. Newcomers, especially, may find themselves lost without prior knowledge of the story.
The production draws from a 2019 Regent’s Park Open Air Theatre staging by Lloyd, employing the same design team, choreographer, and a plain, gray, stage-wide staircase. While visually striking, this approach flattens the drama, making scenes feel detached and lacking in atmosphere.
Before the opening, the internet buzzed with reports of “artistic differences” between the director and his leading lady. Yet, Rachel Zegler delivers an assured performance with a captivating vocal range.
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The Live-Filming Innovation
Borrowing from Ivo Van Hove‘s staging of “Network,” Lloyd incorporates live filming, placing Zegler on a balcony mimicking Eva Peron’s Casa Rosada. This approach, which has sparked considerable discussion, has put the show on the BBC and in the *New York Times*.
The filming technique presents Zegler in a close-up on a large screen. This allows audiences to admire the star’s performance, but can feel emotionally disconnected, focusing more on Lloyd’s directorial choices than the narrative’s emotional impact.
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The extensive use of technology is part of a broader trend: The global live entertainment market is projected to reach $38.1 billion by 2028 (Statista, 2024), reflecting a growing demand for immersive experiences.
Missing the Mark
Diego Andres Rodriguez plays Che, the narrator, suitably sly and snarling; yet his character cannot have a relationship with the protagonist. James Olivas, as Peron, lacks gravitas, and his performance is overshadowed by a focus on his physique.
The show’s technical aspects are undeniably impressive, particularly Jon Clark’s lighting design and Alan Williams’ 18-piece band. The constant emphasis on spectacle, however, seems to eclipse the emotional depth of the musical’s narrative.
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Ultimately, this “Evita” offers a visually stunning, technically brilliant production. Yet, it seems to prioritize spectacle over the complex story of Eva Peron’s rise to power, leaving some to question whether the show’s ambition is matched by its storytelling finesse.