Rachel Zegler explains why divisive Evita decision was important for “accessibility for young people”

by

Rachel Zegler’s impressive first performance in London’s West End culminated in a major win last Sunday: she received the Olivier Award for best actress in a musical.

At the Royal Albert Hall, the actress known for playing Snow White performed “Don’t Cry For Me Argentina” one last time in London. This city remembers her vividly from last summer when she sang the same song on the outdoor balcony of the London Palladium, stopping traffic and captivating onlookers.

Jamie Lloyd’s production of Evita attracted over 220,000 ticket buyers, but the outdoor scenes drew even larger crowds – thousands gathered on the street each night. Rachel Zegler, accepting an award, acknowledged the “130,000 descamisados” – the show’s name for the audience members watching from outside – and described that experience as a great honor.

After receiving the award, she told TopMob she was thrilled to be involved in making theatre accessible to young people right on the street. She described the experience as amazing and expressed her gratitude for being a part of it.

She explained that the audience at the balcony scene was incredibly supportive and enthusiastic, which perfectly captures her experience with theatre in London. She feels lucky to be involved in a community where people genuinely love and appreciate the art of performance.

Director Jamie Lloyd told TopMob he unexpectedly created the now-famous balcony scene. He explained that he came up with the idea shortly before rehearsals began, simply while walking by the Palladium and being inspired by the balcony itself – he felt he couldn’t resist using it in the production.

It definitely fits the show’s story, and I think it’s something Eva Perón would have done herself. It was a really ambitious project, and I’m incredibly thankful to the whole team for making it happen.

Lloyd has long been a supporter of making theatre accessible and affordable, so it wasn’t surprising when he chose to offer discounted tickets for this production. He explained in a 2016 interview with The Stage that high West End ticket prices were “creating a divide” between different audiences, and he reiterated this point on the Olivier Awards red carpet.

We need to keep up the momentum. During our Shakespeare season, we sold 25,000 tickets at a reduced price of £25 to people under 30, essential workers, and those receiving government assistance. I urge other producers to consider similar programs and find ways to offer tickets at a range of prices.

What I really love about Trevor Lloyd’s productions is how he gets huge movie stars to do stage work – like Rachel Zegler in Evita, Tom Holland as Romeo, and Hiddleston in Much Ado About Nothing. He says he always starts by thinking about what the actor would be perfect for, which is a smart approach, honestly.

Typically, the process begins with finding an actor I want to work with. We’ll then collaborate – sharing and developing ideas for a play or musical – and I’ll tailor the entire project specifically to their strengths and talents.

I often encourage performers to connect with their work and truly embody it, and I find that incredibly compelling. It’s fascinating to see how that connection translates to the audience and creates a relationship between the performers and those watching them.

It’s wonderful to meet so many people who enjoy the shows. That’s exactly why we create them – to reach and connect with as many viewers as possible. It’s a really exciting and interesting time for us.

Authors

Olivia Garrett

Read More

2026-04-13 18:09