Rachel Zegler, the 24-year-old Golden Globe-winning actress known for her breakout role in Steven Spielberg’s West Side Story, was poised to make a triumphant West End debut as Eva Perón in Jamie Lloyd’s bold revival of Andrew Lloyd Webber and Tim Rice’s Evita at the London Palladium. Heralded as a career-defining comeback after the polarizing reception of Disney’s Snow White (2025), Zegler’s casting in the iconic musical was expected to draw crowds eager to hear her belt out “Don’t Cry for Me Argentina.” Yet, as the production opened on June 14, 2025, and ran through September 6, a shocking reality emerged: ticket sales plummeted, leaving rows of empty seats in the 2,286-capacity venue. Despite critical acclaim for Zegler’s vocal prowess and Lloyd’s innovative staging, the anticipated bombshell comeback has left audiences—and the industry—speechless for all the wrong reasons. Drawing from recent reports, fan sentiment on X, and the production’s controversial reception, here’s an in-depth look at why Zegler’s Evita failed to fill seats and what it means for her career.
A High-Stakes Comeback After Snow White
Zegler’s journey to the West End was billed as a redemption arc following a tumultuous period in her career. Her starring role in Disney’s live-action Snow White (March 2025) was marred by controversy over her comments criticizing the 1937 animated classic as “dated” and overly focused on a “stalker” love story. Her remarks, including calling critics “losers obsessed with maintaining the bloodline purity of cartoon princesses,” alienated some Disney fans, while her political statements, such as wishing “Trump supporters never know peace” after the 2024 election, further polarized audiences. The film grossed just $205.7 million globally against a $270 million budget, a financial flop partly attributed to Zegler’s polarizing public image, as noted by producer Marc Platt’s son Jonah on social media.
With Hollywood reportedly deeming her “unhireable” due to her outspokenness, as claimed by a NewsNation source, Zegler turned to the stage, where her vocal talent—undisputed even by detractors—could shine. Evita, a rock opera chronicling Eva Perón’s rise from poverty to Argentina’s First Lady, was a perfect fit. Zegler’s personal connection to the musical, having sung “Don’t Cry for Me Argentina” with her father as a child, added emotional weight to her casting. Directed by Jamie Lloyd, known for radical reinterpretations like Sunset Boulevard, the production promised a fresh take, with Zegler joined by Diego Andres Rodriguez as Che, James Olivas as Juan Perón, and Bella Brown as the Mistress/Alternate Eva. Yet, despite the hype, ticket sales faltered, with Cosmic Book News reporting “rows of empty seats” weeks before opening, a trend that persisted throughout the 12-week run.
The Balcony Stunt: A Bold Move Backfires
One of the production’s most talked-about elements was Lloyd’s decision to stage “Don’t Cry for Me Argentina” on the Palladium’s exterior balcony, with Zegler performing live for passersby on Argyll Street while ticketed audiences watched via a video feed. This mirrored Eva Perón’s historic Casa Rosada addresses, symbolizing her populist appeal, and drew up to 1,000 onlookers nightly, boosting the show’s visibility. Lloyd, who used similar tactics in Sunset Boulevard and Romeo and Juliet, aimed to make theater accessible and generate buzz, a move praised by some as “clever marketing” and a nod to Perón’s connection with the masses.
However, the stunt alienated paying theatergoers, some of whom shelled out up to £250 ($336) for seats. Social media erupted with complaints, with one X user quoted by The Guardian fuming, “Sorry, are you saying I’ve paid £350 [roughly $470] for 2 tickets and she’s singing the biggest number outside at people who haven’t paid?” Others argued the live feed lacked the intimacy of a stage performance, with Variety noting it left audiences “emotionally disconnected” despite Zegler’s “thrilling” vocals. The backlash, coupled with the show’s high ticket prices, likely deterred potential buyers, contributing to the empty seats reported by Daily Mail and London Theatre Direct.
Mixed Reviews and Zegler’s Performance
Critically, Evita received a mixed response. Zegler’s vocal performance was widely praised, with The New York Times calling her “a delight” and Variety lauding her “astonishingly assured” singing. Her ability to hit the score’s demanding notes, particularly in “Don’t Cry for Me Argentina,” earned standing ovations, as seen in viral curtain-call videos. Celebrities like Nicola Coughlan raved on X, with @allthingsnicmc posting, “When I say @rachelzegler once in a generation talent I can’t tell you how deeply I mean it. That is a STAR.” Yet, critics noted flaws in the production’s storytelling. The New York Times described it as “more a series of songs than a story told through song,” while Variety criticized its “flattened” narrative and overemphasis on spectacle.
Zegler’s portrayal of Eva Perón was polarizing. Her “arch quality” and “self-satisfied smirk” captured Eva’s ambition but lacked psychological depth, a fault partly attributed to the script’s limited interiority. Some fans on X, like @ZeglerSource, celebrated her emotional vulnerability, sharing clips of her tearing up during curtain calls. Others, however, felt her youth and modern persona clashed with Eva’s gravitas, a sentiment echoed in YouTube videos falsely claiming “mass walkouts” and a “100,000-signature petition” to shut down the show—claims debunked by BroadwayWorld. These exaggerated narratives, fueled by Zegler’s Snow White backlash, likely amplified negative perceptions, discouraging ticket purchases.
Zegler’s Mid-Show Exit: A PR Nightmare
On July 24, 2025, Zegler made headlines for abruptly exiting a performance during intermission due to illness, with understudy Bella Brown stepping in for Act 2. Brown’s rendition of “Don’t Cry for Me Argentina” earned a five-minute standing ovation, with People reporting audience members were “nowhere near disappointed.” While some praised Brown’s professionalism, the incident fueled speculation about Zegler’s reliability. Hungarian Conservative described it as another setback in her “slow show business train wreck,” while X posts like @nypost’s announcement of the exit amplified the drama. Zegler’s absence from scheduled Monday performances (July 14, 28, August 11, 25) for vocal rest further raised eyebrows, though such breaks are standard for demanding roles.
The incident, though minor, compounded the production’s challenges. Fans on Reddit’s r/RachelZegler speculated about her health, with one user suggesting she “may have gone into this knowing what she needs to keep her most valuable muscles healthy.” Others, however, saw it as evidence of her struggles under pressure, a narrative that dovetailed with the empty-seat reports. The Daily Mail noted that “June, July, August, and September are all awash in ‘green good’ availability,” underscoring the show’s failure to sell out despite Zegler’s star power.
Why the Comeback Bombed
Several factors contributed to Evita’s disappointing ticket sales. First, Zegler’s polarizing public image played a significant role. Her Snow White comments and political activism, including her pro-Palestine stance, alienated conservative audiences, with Cosmic Book News labeling her “woke” and unappealing to traditional theatergoers. Second, the balcony stunt, while innovative, frustrated paying audiences, as reported by Forbes and The Guardian, potentially deterring word-of-mouth buzz. Third, high ticket prices—starting at £29.50 but reaching £250—may have priced out younger fans, despite a £25 scheme for under-30s and key workers.
The production’s reported $6 million budget and $9 million advance, as cited by Deadline, suggested initial optimism, but producer Michael Harrison’s refusal to discuss box office figures hinted at underperformance. False YouTube claims of Zegler’s firing or “rows of empty seats” in May, before previews began, further damaged the show’s reputation, even if debunked. Finally, the West End’s competitive summer season, with shows like Jesus Christ Superstar and Sunset Boulevard drawing crowds, likely split theatergoers’ attention.
Impact on Zegler’s Career
The failure of Evita to sell out raises questions about Zegler’s future. NewsNation’s claim that she’s “untouchable” in Hollywood may overstate the case, but her struggle to fill the Palladium suggests a need to rebuild her public image. Her vocal talent remains a strength, with CNN praising her “crystal-clear voice” and fans on X, like @leobessauer, noting, “After all the hate she’s been through, she’s finally back to where she belongs, the stage.” A rumored Broadway transfer in 2027, reported by Deadline, offers hope, but its success hinges on addressing the London run’s pitfalls.
Zegler’s personal life, including a new romance with co-star Nathan-Louis Fernand, provided positive press, but it couldn’t offset the negative narrative. Her resilience, evident in emotional curtain-call moments, suggests she can rebound, particularly if she focuses on stage roles that leverage her singing over film projects that invite scrutiny. The Standard called her turn in Evita one of the West End’s “most buzzed-about moments,” indicating she retains significant draw despite the empty seats.
Final Thoughts
Rachel Zegler’s Evita was meant to be a bombshell comeback, showcasing her undeniable vocal talent and silencing critics after Snow White’s flop. Instead, the production’s empty seats, driven by a controversial balcony stunt, high ticket prices, and Zegler’s polarizing image, have left the West End stunned. While her performance earned critical praise and fan devotion, as seen in X posts and reviews, the failure to fill the Palladium underscores the challenges of translating star power into ticket sales. As Zegler navigates this setback, her talent and stage presence offer a path forward, but her next move—whether Broadway or beyond—will need to win back the audiences who stayed away from Evita. For now, the comeback that promised to leave everyone speechless has done so, but not in the way anyone hoped.
