As of 10:30 AM +07 on Monday, July 21, 2025, the West End’s revival of Evita at the London Palladium has become a focal point of theatrical debate, pitting two talented performers—Rachel Zegler and Bella Brown—against each other in the iconic role of Eva Perón. Directed by Jamie Lloyd, this 2025 production of Tim Rice and Andrew Lloyd Webber’s classic musical has garnered international attention, fueled by Zegler’s star power and Brown’s emerging prowess as her alternate. With the show running until September 6, 2025, and performances drawing crowds both inside and outside the theater, the question of who performs the role better has sparked lively discussions among critics, audiences, and online communities. This article examines the cast dynamics, the content of their performances, and a comparative analysis of their portrayals to determine who truly excels as Eva Perón.
The Cast: A Dynamic Duo in the Spotlight
Rachel Zegler, the 24-year-old Golden Globe winner known for West Side Story and The Hunger Games: The Ballad of Songbirds & Snakes, leads the production as Eva Perón, marking her West End debut. Her casting brought significant buzz, with her vocal range and stage presence drawing comparisons to past Evitas like Elaine Paige and Madonna. Zegler’s performance, enhanced by Lloyd’s innovative direction, has been a global talking point, particularly for her live balcony rendition of “Don’t Cry for Me Argentina.”
Bella Brown, typically cast as the Mistress and the designated alternate Eva, steps into the lead role for select Monday performances—July 14, 28, August 11, and 25, 2025. At an undisclosed age, Brown’s background includes supporting roles in Lloyd’s productions, and her debut as Eva on July 14 has showcased her as a rising star. Zegler herself has publicly supported Brown, posting on Instagram, “She is the loveliest, most talented person I know and I cannot wait for the world to see her shine as Eva,” reflecting a collaborative spirit.
The supporting cast enhances the rivalry’s context. Diego Andres Rodriguez plays Che, the narrator, with a charismatic edge, while James Olivas portrays Juan Perón, Eva’s husband, bringing a youthful physicality. Aaron Lee Lambert as Agustín Magaldi and Alysha Sontae as the Mistress (replacing Brown on alternate nights) round out the ensemble, their performances providing a backdrop to the lead actresses’ duels. The dynamic between Zegler and Brown, amplified by Lloyd’s multimedia staging, sets the stage for a unique competition.
Content: A Tale of Ambition and Spectacle
Evita chronicles the rise of Eva Perón from a poor Argentine girl to First Lady, blending political intrigue with personal ambition. Set against the 1940s backdrop, the musical features hits like “Buenos Aires,” “Another Suitcase in Another Hall,” and the titular “Don’t Cry for Me Argentina.” Lloyd’s revival, running for 12 weeks, reimagines the story with a minimalist set—a gray staircase—and a rock concert vibe, using video screens and live balcony performances to engage both paying audiences and street crowds.
Zegler’s Eva is a commanding figure, strutting in a black bra and shorts, exuding sex and ambition from the outset. Her performance peaks with the balcony scene, where she sings “Don’t Cry for Me Argentina” live to hundreds outside the Palladium, a move broadcast inside via a giant screen. This staging, inspired by Lloyd’s past works like Sunset Boulevard, has drawn both praise for its populist appeal and criticism for sidelining ticket holders. The narrative follows Eva’s ruthless climb—dumping Magaldi, seducing Perón, and outmaneuvering rivals—culminating in her cancer-related death, though critics note the story lacks depth due to the focus on spectacle.
Brown’s portrayal, debuted on July 14, mirrors this arc but offers a different flavor. As the Mistress, she sings “Another Suitcase in Another Hall” with poignant melancholy, and as Eva, she brings a fresh intensity to the balcony scene. Her performances, scheduled for quieter Monday nights, allow a more intimate connection with smaller crowds, contrasting Zegler’s high-energy, crowd-drawing spectacles. The production’s use of strobe lighting and loud music, while visually striking, has been critiqued for drowning out character development, a challenge both actresses navigate differently.
Performance Comparison: Zegler vs. Brown
Zegler’s performance has been widely celebrated for its vocal prowess and star quality. Critics from The New York Times call her “enthralling,” praising her arch delivery and powerhouse singing, particularly in “Don’t Cry for Me Argentina.” Her balcony moment, a viral sensation with over 1.3 million X views, showcases a regal wave and emotional range, though some, like The Guardian, argue her character lacks interiority, with forced introspection moments. Her physicality—strutting and posing—aligns with Lloyd’s rock-star vision, earning standing ovations, but the staging’s controversy (paying audiences watching a screen) has divided opinions. Zegler’s emotional breakdown after a June 28 curtain call, captured in a viral video, highlights her investment, though some attribute it to the heatwave’s toll on outdoor crowds.
Brown’s debut on July 14 has shifted the narrative. Photos and early reviews suggest a thrilling intensity, with her balcony performance drawing comparisons to Zegler’s but with a quieter, more grounded approach. London Theatre Reviews notes her “dazzling depth,” and posts found on X praise her as “a revelation,” with fans booking Monday tickets. Her “Another Suitcase in Another Hall” as the Mistress is lauded for pathos, a contrast to the production’s high-voltage norm, though critics like The Telegraph suggest her limited performances hinder a full character arc. Her lack of Zegler’s celebrity draw means smaller crowds, but this allows a more authentic street connection, free from the heatwave incidents that affected Zegler’s outdoor shows.
Vocally, Zegler’s clarity and power suit the anthems, while Brown’s softer tone excels in ballads, offering a nuanced Eva. Physically, Zegler’s bold staging overshadows Brown’s subtler presence, but Brown’s alternate role provides flexibility Lloyd exploits. The competition hinges on context—Zegler’s global appeal versus Brown’s emerging authenticity—making a definitive “better” elusive.
Plot Twists: Staging and Rivalry Dynamics
The production’s twists enhance the Zegler-Brown rivalry. The first twist is the balcony scene’s dual audience, splitting the performance’s impact between paying viewers and free street crowds, a move that has fueled debate and boosted ticket sales. The second twist involves Brown’s rise as a viable Eva, challenging Zegler’s dominance, especially as Zegler takes pre-scheduled breaks. This shift, supported by Zegler’s endorsements, adds a meta-layer to the narrative, blurring actress and character ambition.
The climactic twist could see Brown’s performances gaining critical favor, potentially influencing a Broadway transfer in 2027, as speculated by Deadline. Zegler’s star power drives the current hype, but Brown’s consistency might redefine the role’s legacy, a subplot mirroring Eva’s own rise over rivals.
Reception and Legacy
Running until September 6, Evita has a 70% Rotten Tomatoes rating, with praise for Zegler’s vocals and Lloyd’s spectacle, though some lament the narrative’s thinness. Brown’s limited shows lack broad reviews, but early feedback is positive. X posts reflect a split—Zegler’s fans laud her “phenomenal” energy, while Brown’s supporters highlight her “thrilling” debut. The $9 million advance and potential Broadway move underscore commercial success, though heatwave incidents and ticket price complaints linger.
The legacy may hinge on this rivalry. Zegler’s global draw could cement her as a modern Eva, while Brown’s ascent might inspire future alternates to challenge leads, reshaping West End dynamics. Lloyd’s staging, innovative yet divisive, ensures Evita 2025 remains a cultural event.
Conclusion
Bella Brown and Rachel Zegler’s competition for Eva Perón in Evita showcases two distinct talents. Zegler’s vocal strength and star-powered balcony scenes dominate, earning widespread acclaim despite staging controversies. Brown’s nuanced portrayal and authentic street connection offer a compelling alternate, gaining traction in her limited slots. The content’s spectacle and twists—balcony staging, Brown’s rise, and potential legacy shift—fuel the debate. While Zegler currently shines brighter for her global impact, Brown’s potential suggests a closer race, leaving audiences to decide based on their preferred Eva vision.
