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“Evita” at the London Palladium

Star director Jamie Lloyd has provided many golden theatrical moments, from a brutal production of Oscar Wilde’s Salome many years ago to his work on Harold Pinter’s plays. And he is an expert at musicals, with brave productions of Stephen Sondheim’s work and an exciting appreciation of Andrew Lloyd Webber, including a smash-hit production of Sunset Boulevard. Lloyd’s productions are always daring, with a ‘takeaway’ to remember after the show. But this time, with the balcony scene in this latest revival of Lloyd Webber’s Eva Peron musical, Lloyd tops them all.

The rendition of ‘Don’t Cry For Me Argentina’, staged outside the auditorium and relayed to those watching inside, is a great stunt as crowds show up to watch it at nine each night. It’s also brilliant – goosebump brilliant. Lloyd has staged the show before, a superb production at Regent’s Park, but this grand venue works even better. It’s not a question of pimping up the production – the staging is still minimal, although Jon Clark’s lighting design is advanced. It’s the effort to bring out the politics of the show that is, arguably, more urgent than ever – a genuine rage about social divides that provides a vital, angry feel.

“screw the middle classes”

The passion is projected by Lloyd’s star, Rachel Zeigler, who takes the title role in her West End debut. I’d suggest it’s this spirit that makes her performance so great, even though she sings superbly. When she screams “screw the middle classes” it’s the only time Zeigler’s voice isn’t beautiful. She has identified the kernel to her character and does not let go. There’s a vicious sense of humour to this Evita. She is bored by weakness, ambitious, unscrupulous and not very nice! Her powerful voice, which is also remarkably clear, sounds strangely old-fashioned and is utterly compelling. 

Evita at the London Palladium

Zeigler is also, like a lot of Lloyd’s leads, a big star. It’s perfect casting and cleverly leaned into. Much of the show feels like a pop concert, with Evita as the performer, her name, literally, written large. The response is fanatical (especially to ‘Buenos Aires’). Fabian Aloise’s work as choreographer and the amazing cast come to the fore. The dancing is terrific. Filled with humour and danger, acrobatic and at times otherworldly, many movements are robotic, or should that be puppet like? Because what sympathy we have for Evita is about the chances she didn’t have, how she had to exploit others to avoid being exploited. The moving moments in the show feed into the anger that powers it.

“star quality”

Aloise and Lloyd show such rigid control that it could cause problems. Take the interactions between characters. For most of the time, the cast looks out towards the audience, rather than at each other: Evita always has her eye on public perception, on her legacy. There’s only one person she is really interested in; the show also belongs to Che Guevara, and it brings us to yet another stellar performance.

Evita-Andres-Rodriguez-as-Che-credit-Marc-Brenner
Diego Andres Rodriguez

Diego Andres Rodriguez, who takes the role as the Communist rebel, is fantastic. His voice is flexible, his physicality astounding, and to say he is a match for Zeigler is to award the highest praise. Again, he makes the politics of the piece clear – a rebel filled with rage. Rodriguez is another West End debut we feel very lucky to see – in a production so full of “star quality” that it could well go down in history. 

Until 6 September 2025

www.evitathemusical.com

Photos by Marc Brenner

2023

“Sunset Boulevard” at the Savoy Theatre

Everything about Jamie Lloyd’s new production of Andrew Lloyd Webber’s 1993 musical is exciting. Everything. Lloyd is one of the smartest directors around: never scared of entertaining, thrilling and challenging an audience – and here, everything he has touched benefits.

First, the piece. Lloyd has tackled Lloyd Webber before, with Evita, and it is a thrill to find such a bold director finding a West End hit so credible. The score for the tragic romance between former silent film star Norma Desmond and impoverished writer Joe Gillis sounds big – powerful and sensuous – Alan Williams’ work as musical director is fantastic.

Lloyd takes the book and lyrics by Don Black and Christopher Hampton seriously, too: the presentation is clear and nuanced and you can’t fault delivery of a single line. Norma’s attempt to return to work and Gillis’ romance with another writer are both explored in depth. I only spotted one omission, a lighter number called ‘The Lady’s Paying’, and the absence is telling. Sunset Boulevard is a dark piece – it’s about a murder, after all. The camp appeal of the show is allowed but carefully controlled.

The staging is startling. Soutra Gilmour’s design has no props and no set. Instead, Lloyd sets up a dialogue with the medium of film and the resulting designs for lighting and video, from Jack Knowles, Nathan Amzi and Joe Ransom, are breathtaking. It’s too simple to say noirish, although the references are clear. And it isn’t just that these designs aid the drama. Desmond and Gillis are conscious of the spotlight and that they are being filmed (they work in the movies, after all, and Gillis is narrating events). There is a lot of live filming here – a huge technical accomplishment – on a massive screen. And while the idea has been popular for a while, even taking us outside the theatre at one point, Lloyd shows himself as a master of this.

Sunset-Boulevard-Grace-Hodgett-Young-and-Tom-Francis-credit-Marc-Brenner
Grace Hodgett Young and Tom Francis

All this and no mention of the cast – all of them stars, each bringing more excitement. This is a large ensemble, Fabian Aloise’s bold choreography is in keeping with the production’s stark drama, creating fragmented imagery that recalls an old movie and adds focus along with a sense of foreboding.

Tom Francis and Grace Hodgett Young play the younger leads. They have slim credits between them, but both performances are justifiably confident. They sound great, act with skill and, given Lloyd’s unerring eye for talent, you can’t wait to see what they do next. While Francis has the bigger part – and tackles his role with great subtlety – Hodgett Young leaves a big impression, showing a sweet heroine who isn’t a pushover.

Sunset-Boulevard-Nicole-Scherzinger-credit-Marc-Brenner
Nicole Scherzinger

Finally, Nicole Scherzinger takes the lead as Desmond and gives a performance that will surely change her career. Scherzinger has a powerful voice and knows how to use it. She can belt out a note, but only at the right moment. She gets what Lloyd is doing, using the cameras for fun, drawing the focus to her face. Boldly, some iconic lines are, almost, thrown away. This is a brave performance, with Scherzinger never scared of looking the fool and becoming vulnerable – and moving – as a result.  A finale that turns the action into something like a horror film is stunning. Scene after scene, Scherzinger and Lloyd surprise and excite.

Until 6 January 2023

www.sunsetboulevardwestend.com

Photos by Marc Brenner

2019

"Evita" at Regent’s Park Open Air Theatre

This production of the Andrew Lloyd Webber and Tim Rice classic must surely be the musical revival of the year. Recruiting director Jamie Lloyd has resulted in the biggest ever box-office success for Timothy Sheader’s open-air venue.

Lloyd’s irreverent streak suits early Rice/Lloyd Webber surprisingly well. It’s useful to remember that Evita started out as a concept album – free from the constraints of staging. Lloyd presents a stripped back version, akin to a concert, where the paraphernalia of politics relies on Soutra Gilmour’s costume design along with balloons, cheerleaders and confetti cannons galore. There isn’t much sense of place or period – instead we get a naked examination of power that feels it could be set any time or place… including now.

While ostensibly a biography of Eva Perón, néeDuarte, the controversial First Lady of Argentina between 1946 and 1952, Evita is really the story of two people – or should that be two approaches to government? The titular lead’s relationship with the show’s narrator, Che Guevara, is symbiotic as much as adversarial and Lloyd brings this out fearlessly. There’s a creepy scene suggesting a ménage with President Perón and the characters are made to share physical discomfort. At other moments, their intimacy suggests a twinning and is heartfelt. The duo proves fascinating.

Samantha Pauly as Eva Perón and Trent Saunders as Che in 'Evita' at Regent's Park Open Air Theatre
Samantha Pauly as Eva Perón and Trent Saunders as Che

Lloyd’s appreciation of Evita and Che is brought out wonderfully by his leads Samantha Pauly and Trent Saunders. Saunders is a magnetic presence who commands the stage; never mind the character, you could have him on a poster quite easily. With Pauly, at first, freshness is the key; she presents a young girl who is quick to laugh, even giggle. It’s only when the middle-classes are mentioned that Eva gets mad, frightening, in fact. She’s a political animal, which highlights the misogyny she experiences to great effect. As her health declines, Eva’s even angry with God. The contrast, if this isn’t insulting shorthand, is that Che is Rock while Eva is inspired by Pop; both are stars but the differences raise interesting questions. You may have heard the roles sung with more nuance, maybe with more beauty, but these are intelligent performances delivering Lloyd’s requirements.

The show’s dream sequence (the Waltz for Eva and Che) has everyone at their very best – it is amazing theatre. While Che is beaten, tarred and feathered with paint and confetti, Evita narrates her illness as under her control – “the choice was mine and mine completely”. Recall that Lloyd Webber and Rice’s previous work was Jesus Christ Superstar and the mind starts to boggle. Note that Che strips himself, while Eva’s saintly status has been played with all along. Lloyd brings out messianic tones of political cults with devastating force.

Samantha Pauly as Eva Perón and Company in 'Evita' at Regent's Park Open Air Theatre
Samantha Pauly as Eva Perón and Company

In reminding us how political a story Evita is, Lloyd focuses on protest. Filling the production with menace raises questions about populist regimes that are regrettably pertinent. Lloyd’s greatest ally is choreographer Fabian Aloise, who should surely be looking forward to awards season given his fantastic work here. A crack ensemble of dancers, integral to the action, power the show. Performing as the aristocracy and military one moment and then the descamisados the next, they fight for and against Evita with the most exquisite movements. Aloise deserves full praise for contributing to Lloyd’s astounding vision.

Until 21 September 2019

www.openairtheatre.com

Photos by Marc Brenner

2018

“The Rink” at the Southwark Playhouse

While any show from John Kander and Fred Ebb should earn a crowd, the draw for Adam Lenson’s revival of their 1984 musical is the casting of Caroline O’Connor. ‘Direct from Broadway’, as they say, Anglo-Aussie O’Connor is the real deal: a powerful voice, great acting skills and incredible stage presence. Trust me, don’t miss her.

Both music and lyrics for the show hold their own against more famous works such as Chicago or Cabaret. The plot is simpler – a mother and daughter, Anna and Angel, fighting over the family business of a boardwalk roller-skating hall – wonderfully condensed in Terrence McNally’s book. As the action goes back and forth in time, the estranged women catch up on each other’s lives and revisit their shared history, seeing events from each other’s perspective. The skill in song-writing is astounding: take Angel’s All The Children In A Row, which narrates the search for her father, a death, a birth and hippiedom in one number. Big themes and psychological insight are present and satisfying throughout, covering love, loss and even economics.

Lenson shows admirable confidence in the show’s strengths, never overstating its melancholy overtones and allowing the drama to unfold with a careful eye on nostalgia. The production deserves a bigger home, but the staging and Fabian Aloise’s choreography impress… especially when the roller-skates arrive!

O’Connor is more than capable of carrying the show – she could probably hoist a great deal more. But it should be stressed that she doesn’t have to as a capable team backs her up at every moment. There’s strong work from Stewart Clarke as her husband and Ben Redfern as the childhood sweetheart who waits around to marry her. Co-star Gemma Sutton makes the most of some wonderful numbers and never shies away from her role’s less loveable characteristics. She convinces as a young child, rebellious teenage and angry adult, retaining an equal vulnerability throughout. The Rink is a show full of thrills, emotional and intellectual, and the chance to see a double act this good means you should really get your skates on to see it.

Until 23 June 2018

www.southwarkplayhouse.co.uk

Photo by Darren Bell