London, England — Jamie Lloyd, the acclaimed director behind the current West End production of Evita, is eager to bring the show to Broadway, ideally by early 2026. He expressed his urgency to have the production cross the Atlantic, saying, “I would love for it to go straight away.” The creative team, including lyricist Tim Rice and composer Andrew Lloyd Webber, share this enthusiasm, with Rice humorously noting that time may not be on their side as they age.
While some advocates of the show suggest waiting until 2027, Lloyd remains resolute about his timeline, stating, “That’s when I would like it to go, as soon as possible, really.” His commitment to the project crystallized during one of the most buzzworthy opening nights in recent London theater history, attended by numerous celebrities including Keanu Reeves and Sarah Paulson.
In preparation for the potential Broadway run, Lloyd disclosed that advisors are already scouting theater venues in New York City. The Broadway transfer is set to be produced by Michael Harrison in collaboration with the Jamie Lloyd Company. The excitement surrounding the London premiere is palpable, and the audience’s enthusiasm was evident even as they navigated heavy security before the show.
A standout moment in this production occurs when Rachel Zegler, who plays Eva Perón, sings "Don’t Cry for Me Argentina" from the balcony of the Palladium, captivating both the theatergoers and onlookers outside. “I would love to see this scene go to Broadway,” Lloyd remarked, emphasizing the need to find the right venue to accommodate such a unique presentation. Challenges surrounding logistics and city permits, especially in New York, loom large, but the team is committed to making it work.
Lloyd views the balcony scene not just as a spectacle but as integral to the story, echoing his emotional connection to the character’s journey throughout the show. “It’s very intentional,” he asserted, underlining its purpose within the production. As Zegler gears up for a Broadway debut, she reflected on how special it would be to perform in her hometown, feeling a deep sense of gratitude for being part of such a significant musical revival.
Zegler’s accolades don’t stop at Evita; she mentioned her excitement about future projects, including a film with Marisa Tomei. After a 12-week run at the Palladium, she hopes for opportunities that honor her artistic roots. Her connection to the musical seems to resonate with younger audiences, as she noted the growing interest in a classic show that once felt niche to her.
Lloyd Webber praised Zegler’s performances, seeing her as a star destined for great things. He expressed that her talent goes beyond singing, reinforcing the notion that she is poised to take on formidable roles both on stage and screen. Zegler’s humility shone through as she reflected on the compliments, admitting she struggles with accolades.
The opening night revealed the strong ensemble cast, including Diego Andres Rodriguez as Che and James Olivas as Juan Perón, who have received praise for their performances. Olivas, breaking the mold for the typical casting of Perón, emphasized the show’s youthful energy and modern appeal. This fresh approach has not only revitalized interest in a classic musical but has also sparked discussions beyond traditional theater circles.
As Lloyd prepares for the possibility of a Broadway run, he is mindful of the historic weight of directing a show with personal significance, recalling fond memories of his parents’ love for the musical. “It felt like a bit of a historic moment tonight,” he noted, underscoring the dedication of his cast and crew.
Whether or not Evita makes its way to Broadway, the current production is igniting conversations about theater among new generations, with Zegler at the forefront of this exciting revival. Her role, alongside Lloyd’s visionary direction, is set to make an impact that resonates far beyond the London stage.