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Yahoo
3 days ago
- Entertainment
- Yahoo
‘Evita' Theater Review: Rachel Zegler Takes London by Storm as Eva Perón in Otherwise Uneven Revival
Could it be time for Jamie Lloyd to hit the pause button? The prolific director, whose radically reimagined Sunset Blvd. last month won Tony Awards for best musical revival and lead actress Nicole Scherzinger, is rolling out productions at such a rate that his template — big stars, event theater, a style that might be described as minimalist swagger — is beginning to look entrenched, and a bit hit-or-miss. Spectacle worked wonders with his recent, disco-dancing Much Ado About Nothing starring Tom Hiddleston and Hayley Atwell. But while there was a glorious opportunity for a revisionist take on Evita — to reconfigure the Andrew Lloyd Webber-Tim Rice mega-musical from the 1970s for a more politically confused and troubled age — Lloyd has simply turned up the volume. More from The Hollywood Reporter Foo Fighters Are Back With First Song Since 2023 to Celebrate 30th Anniversary What the Hell Happened With the Sean "Diddy" Combs Verdict? 50 Cent, Kesha, Aubrey O'Day and More Stars React to Diddy Verdict: "The Cultural Weight of This Decision Is Immeasurable" The result feels decidedly erratic. The central performance from Rachel Zegler at times gives you goosebumps, but at others is in desperate need of direction; showstoppers bring usually reserved London audiences to their feet (mostly unheard of here, though it happened too during Much Ado); directorial choices damage whatever narrative interest the work might have. It's entertaining and galling in equal measure. As ever, the immediate set is minimal: bare, except for tiered steps that run the length of the stage and a giant sign, EVITA, across the back (in what does feel like a contemporary spin, Eva Perón is presented here more as a brand than an icon). Other than that, the staging will be accompanied by carefully selected props: the live camera that has become ubiquitous in Lloyd's productions, a shower of blue and white confetti, blood and paint. The show opens as a tease, the song 'Requiem for Evita' sung almost as a Gregorian chant, by cowled figures gliding through dry ice. But any thought that this might be a pared-back evening are immediately cast aside as the curtain rises to reveal the Evita sign and a strutting Zegler, oozing feline sexiness in leather bra and hot pants. At the same time, Che (Diego Andres Rodriguez), an ambiguous character from Eva's own poor background, begins his protracted debunking of the Perón legend with 'Oh What a Circus.' And the musical's real face blasts into action. Throughout this number, and for some time after, Zegler endures her most difficult phase of the revival: physically commanding the stage (as she does the entire evening) but with a single, fixed expression, something akin to a teenager's attempt to appear superior, that suggests there's next to nothing going on behind the pose. It quickly becomes apparent, too, that the evening is going to be dominated by over-miked excess — the volume way too loud, the songs pitched too shrilly. Not only can this lead, at times, to a self-defeating sensory overload, but it exacerbates the issue often raised by sung-through musicals, of plot and character simply getting lost in the mix. While 'Buenos Aires' is one of the big-belt numbers — accompanied by thrilling choreography involving the whole cast — that bring down the house, many of the production's most satisfying moments involve a rare dialing down and focus. One is 'Another Suitcase in Another Hall,' poignantly sung by Bella Brown as the discarded mistress of Juan Perón (James Olivas), in a welcome change of tempo and temperature. Another, and not surprisingly the show's high point, is when Zegler puts her stamp on 'Don't Cry for Me Argentina.' There was mild controversy when it was discovered in previews that Zegler would perform the show's signature song not in the auditorium, but on the Palladium's exterior balcony for the benefit of passers-by gathered in the street — who, horror of horrors, have not paid handsomely for a ticket. As it turns out, this is Lloyd's greatest stroke of inspiration (similar to what he did with Tom Francis' Joe Gillis for the title song in Sunset Blvd. or Jessica Chastain's Nora at the end of A Doll's House). The theater audience does see the actress of course, captured on a giant, wide screen as she moves through the ornate Edwardian building. Her vampish garb replaced by a First Lady's majestic white dress, bejeweled, her dark hair now white, she sings from the balcony, the camera dissolving between her cinematic close-ups and the rapt crowd. Zegler crushes the song, eking out of it every ounce of emotion, real and contrived. The number is brilliantly conceived and executed, a genuine goosebump moment. But with the Palladium neatly filling in for Buenos Aires' Casa Rosada, it also tellingly offers what Lloyd's minimalist abstraction has hitherto denied: a sense of context and color. While there was a glimpse of Eva's feistiness and strength in the first half, Zegler as a performer is now fully unleashed. Set free from the limitations of lyricist Rice's crass social climber, the actress finds much more expression and emotion in the second half, as Eva navigates ambition, public perception and illness. Zegler's rendition of the dying Eva's 'You Must Love Me,' the song added for Alan Parker's 1996 film with Madonna, is extremely moving. It's a pity that the men can't really match her. Though he delivers the songs competently, Rodriguez (Sunset Blvd.) suffers in the way of all Ches. The character's high and mighty put-downs wear thin as the show progresses, and any political objections he may have to the Peróns are undermined by smug preening. Lloyd's casting of Olivas as Perón — in reality 23 years Eva's senior and invariably played by an older actor — seems perplexing. Why have a young man who looks exactly the same as the monolithic blockheads who are Perón's followers and henchmen? Why circumvent an inescapable age dynamic in the relationship? It doesn't help that Olivas is rather bland in the role. Lloyd's early reputation was partly built on an imaginative knack for tapping new meaning from the darkest and most interesting recesses of a play, notably but not only Harold Pinter's work (Lloyd's Betrayal, also with Hiddleston, was lauded on both sides of the Atlantic). Evita isn't the same kind of animal, but there's juice in the albeit contestable nature of Perón's political leanings. That could have resonated at a time of ever-growing right-wing populism, but is not capitalized upon here. It seems typical of the production that one brutally telling moment, Che's face and body suddenly becoming bloodied during a Peronist march, is easily lost with the actor stranded downstage as confetti distractingly showers the audience. Given that the director has cast Keanu Reeves and Alex Winter in his upcoming Broadway production of Waiting for Godot, there may well be an electric guitar in the mix. Nonetheless, let's pray he doesn't drown out the Beckett play's marvelous silence. Venue: The London Palladium, LondonCast: Rachel Zegler, Diego Andres Rodriguez, James Olivas, Aaron Lee Lambert, Bella BrownLyrics: Tim RiceMusic: Andrew Lloyd WebberDirector: Jamie LloydSet and costume designer: Soutra Gilmour Lighting designer: Jon ClarkSound designer: Adam FisherMusic supervisor and musical director: Alan WilliamsChoreographer: Fabian AloisePresented by Lloyd Webber Harrison Musicals and The Jamie Lloyd Company Best of The Hollywood Reporter Seeing Double? 25 Pairs of Celebrities Who Look Nearly Identical From 'Lady in the Lake' to 'It Ends With Us': 29 New and Upcoming Book Adaptations in 2024 Meet the Superstars Who Glam Up Hollywood's A-List Solve the daily Crossword
Cosmopolitan
5 days ago
- Entertainment
- Cosmopolitan
Rachel Zegler Is Set to Return to 'Evita' After Leaving Mid-Show
Rachel Zegler's gig as the titular character in Jamie Lloyd's revival of Evita at the London Palladium has been all over our social feeds thanks to her stunning performances, but she made headlines for a different reason during her latest show. On July 24, the Cosmopolitan cover girl suddenly exited the stage mid-show as she had fallen ill. According to People, Rachel's departure was announced during intermission, and her understudy, Bella Brown, stepped into the role despite appearing as Perón's Mistress earlier in the night. After a 45-minute intermission, Bella transformed into Evita just in time for the Tony-winning musical's second act. A source in the audience told E! News, 'The interval lasted almost 40 to 45 minutes and then the balcony scene with Bella began. You would have thought the roof was going to cave in from the applause. Even more so when she entered on stage for the first time after the balcony scene.' She opened with the iconic number, 'Don't Cry for Me, Argentina,' marking her second time playing Eva Perón after she made her debut on July 14. In this production, Jamie Lloyd and Andrew Lloyd Webber pulled a page from his Sunset Blvd. book and takes the performance outdoors. At this point in the show, Eva sings to a crowd of Argentinians from the balcony of the Presidential Palace, which is actually the London Palladium's balcony IRL. Since Evita's opening night on July 1, the general public has swarmed the outside of the venue on Argyll Street to catch a glimpse of the stars in action. After Bella carried the rest of the show in Rachel's absence, she received a standing ovation that lasted nearly five minutes, and according to fans on social media, the cast had bowed 10 separate times during the curtain call. She expressed her appreciation for the cast, crew, and crowd with a series of Instagram Stories following the performance. 'Today really showed just how important swings and covers are within this industry,' the actress later wrote in an Instagram Story. 'They are pillars of a show!! A proud day to be at Evita.' In a separate post, she added, 'What a lucky audience getting to see both myself and MY ANGEL REG ZEG!!' While we hope Rachel has a speedy recovery, her rep confirmed to The Hollywood Reporter that she is scheduled to return and perform Friday evening.
21-07-2025
- Entertainment
Selena Gomez shares photo with Taylor Swift ahead of 33rd birthday
Selena Gomez is sharing fun snapshots ahead of her 33rd birthday this week. The "Only Murders in the Building" star posted a carousel of photos on Instagram Sunday, including one with her "bestie" Taylor Swift and three with her fiance Benny Blanco. Gomez and Swift posed with a pile of gold, silver and black balloons, while Gomez and Blanco shared a kiss in another photo. "As I prepare to celebrate my 33rd birthday, I can't help but reflect on the incredible journey that has brought me here," Gomez wrote in the accompanying caption. "This past year has truly been the most beautiful year of my life, and I owe so much of that to all of you. Thank you for your unwavering love and kindness," the "I Said I Love You First" singer continued. Gomez and Swift's close friendship has endured over the years, with the "Sunset Blvd" singer and her younger sister Gracie Elliot Teefey supporting Swift at her Eras Tour stop in Arlington, Texas, in 2023. "Thank you bestie for having me and my sissy transport into your mystical, euphoric and special world. Proud to know you!" Gomez wrote in an Instagram post at the time. When Gomez and Blanco, a music producer and songwriter, went public about their engagement in December 2024, Swift quickly commented on their Instagram announcement. "yes I will be the flower girl," the "Wildest Dreams" singer wrote. Gomez will turn 33 on Tuesday and wrote in the caption of her Instagram post Sunday that she's looking forward to the future "with excitement." "As I step into this new year, I'm filled with excitement and hope for what's to come," she wrote. "I look forward to sharing more moments with all of you, creating new memories, and continuing this beautiful journey together. MADLY LOVE YOU ALL."
Yahoo
11-07-2025
- Entertainment
- Yahoo
Justin Bieber to Release Seventh Album on Friday (Exclusive)
Justin Bieber is about to drop a new album, The Hollywood Reporter has learned. Def Jam will release his long-awaited seventh album on Friday, July 11, sources reveal. A representative for Bieber didn't reply to request for comment. Def Jam declined to comment. More from The Hollywood Reporter Rob Thomas Signs With Universal After Two Decades at Atlantic Records Nicole Scherzinger Says Liam Payne's "Happy Place" Was Making 'Building the Band': "He Loved to Help" Why Wet Leg's Rhian Teasdale Can't Stop Writing Silly Love Songs As THR reported, Bieber headed to Iceland in late April to put finishing touches on the project, his first since 2021's Justice. His Nordic getaway hosted jam sessions and allowed the pop superstar to 'vibe out' with a number of musical collaborators, an insider reveals. As of Thursday, a billboard in Iceland that depicts Bieber with the word 'Swag' is starting to go viral online. Presumably, that could be the name of the album though it's unclear at press time. The same billboard went up on Sunset Blvd. in Los Angeles on Thursday. Bieber posted several photos and videos of his own Thursday as well that show what seems to be the album's tracklist. Recent posts on Instagram, such as this one from June 30, also show what appears to be a final mix in ProTools. Other studio images suggest that music being played for Bieber is past its tracking phase and that the stereo files seen are a finished mix of some sort. As sources shared with THR in April, Bieber had been hosting 'jam sessions' at his Los Angeles house where attendees have included his longtime DJ Tay James, musical director HARV, SZA collaborator Carter Lang and Australian artist Eddie Benjamin. Features on the album include Gunna and Sexyy Red as well as Cash Cobain, each of whom Bieber has shouted out on social media in recent months. Bieber had also tapped talents like U.K. singer-songwriter Sekou and producer Dylan Wiggins (Kali Uchis' 'I Wish You Roses,' The Weeknd's 'Die For You'), among other lesser-known music-makers that he discovered on social media and enlisted via DMs. Bieber's long awaited album comes four years after his last album, and his life has changed significantly since then. For one, he had a child with wife Hailey Bieber last year. On the music side, he split from his longtime manager Scooter Braun in 2023. Braun just announced earlier this month that he's stepping down as CEO of Hybe America. As THR reported, the two recently resolved their remaining financial issues — specifically, a debt triggered by the cancellation of Bieber's Justice tour in 2022. (A representative for Bieber declined to comment on the settlement at the time.) In not fulfilling his contractual obligation to AEG (the tour's promoter) to complete the concert dates, for which he received a $40 million advance, Bieber was left owing more than $20 million to AEG. Then-manager Braun, through his company, covered what was owed through a loan. The two were partnered in a number of other businesses including a record label and film projects. Braun was also involved in a $200 million catalog deal to Hipgnosis Songs (now Recognition Music) for Bieber's songwriting interests, possibly the largest nest egg in music history for an artist under 30. (Worth noting: Hailey Bieber, who married Justin in 2018, recently sold her Rhode Beauty skin care brand to e.l.f. Beauty for $1 billion; Braun was a seed investor.) Best of The Hollywood Reporter From 'Party in the U.S.A.' to 'Born in the U.S.A.': 20 of America's Most Patriotic (and Un-Patriotic) Musical Offerings Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025
Cosmopolitan
01-07-2025
- Entertainment
- Cosmopolitan
Nicole Scherzinger Celebrates 47th Birthday in Zebra Thong Bikini
Nicole Scherzinger is celebrating her birthday in the way celebs have been doing since the dawn of Instagram: by making us jealous of their summer vacations with some bikini pics. Nicole celebrated turning 47 by dropping photos of herself lounging at the beach wearing a zebra print string bikini, which she captioned 'POV: People born in 2000 are turning 25 … and so am I." This bikini moment comes off Nicole winning her first Tony Award for Sunset Blvd. In an emotional speech last month, the actor/singer said "Y'all know this Broadway schedule is hardcore. I got to keep it real. … I'm so honored to be recognized alongside these exceptional warrior women in this category. I want to thank all of you." She added, "[I'm] so proud to represent. I want to thank my mom, who had me at 18 and gave everything up for me. My dad [and] my sister…who instilled in me an unshakable faith. My ohana, my family, all 5,000 of you. You know that I love you." Nicole also thanked her fiancé Thom Evans, saying 'who believes in me when I forget to believe in myself,' and ended her speech with "If anyone out there who feels like they don't belong, well, you're time hasn't come. Don't give up. Just keep on giving and giving because the world needs your love and your light more than ever. This is a testament that love always win. Thank you so much."
