Rachel Zegler, the 23-year-old actress who rose to fame with her breakout role in Steven Spielberg’s West Side Story (2021), is facing yet another career setback as her latest project, a revival of Andrew Lloyd Webber and Tim Rice’s 1978 musical Evita, struggles to fill seats at the London Palladium. Set to open on June 14, 2025, the production, directed by Jamie Lloyd, was anticipated to be a triumphant return to the stage for Zegler, showcasing her vocal prowess and acting chops as she takes on the iconic role of Eva Perón. However, with mere weeks to go before the curtains rise, ticket sales are alarmingly low, echoing the disappointing performance of her recent Disney venture, the live-action Snow White remake. This article delves into the factors contributing to Evita’s pre-opening flop, the broader context of Zegler’s career trajectory, and what this means for her future in Hollywood.

A Promising Star’s Meteoric Rise

Zegler’s journey began with a viral YouTube cover of “Shallow” from A Star is Born, which caught the attention of casting directors. At just 17, she was cast as Maria in West Side Story, earning critical acclaim and a Golden Globe for Best Actress in a Musical or Comedy. Her powerful voice and natural charisma positioned her as Hollywood’s next big thing. Roles in major franchises followed, including Shazam: Fury of the Gods (2023), The Hunger Games: The Ballad of Songbirds & Snakes (2023), and Disney’s Snow White (2025), where she played the titular princess. She also made her Broadway debut in 2024 with Romeo + Juliet, further cementing her status as a versatile performer.

Yet, despite this early success, Zegler’s career has been marred by controversy and public missteps. Her outspoken nature, particularly on social media, has drawn both admiration and ire, creating a polarized fanbase. As she steps into the role of Eva Perón, a figure immortalized by Madonna in the 1996 film adaptation, Zegler faces scrutiny not only for her performance but also for her ability to draw an audience in an increasingly unforgiving industry.

Evita’s Empty Seats: A Symptom of Larger Issues

According to reports from Cosmic Book News and the Daily Mail, Evita is struggling to sell tickets, with vast swathes of the 2,286-seat London Palladium marked as available for performances in June, July, August, and September 2025. Tickets, starting at a modest £29.50, have failed to attract theatergoers, raising concerns about the production’s viability. The Daily Mail noted that “rows of seats remain unsold weeks before opening,” a stark contrast to the high expectations for a musical with such a storied legacy.

Several factors may be contributing to this lackluster response. First, Zegler’s recent Snow White debacle looms large. The Disney remake, which cost a reported $270 million to produce, grossed a mere $194.5 million worldwide as of April 2025, making it one of Disney’s biggest box office bombs in recent history. The film’s failure was attributed to a combination of factors: controversial changes to the classic story, a perceived “woke” agenda, and Zegler’s polarizing comments about the original 1937 animated film. In interviews, she called the original “dated” and criticized its romantic elements, alienating some fans of the beloved fairy tale. Social media erupted with images of empty theaters, and critics pounced, with one Hindustan Times headline reading, “Welcome back to reality princess.”

The fallout from Snow White appears to have damaged Zegler’s marketability. “The public’s perception of her has shifted,” says entertainment analyst Maria Cortez. “She was once seen as a fresh, relatable talent, but her recent controversies have made her a lightning rod for criticism. People are hesitant to invest in her projects.” This sentiment is reflected in the tepid response to Evita, where her star power alone is not enough to fill seats.

Controversies and Social Media Missteps

Zegler’s outspokenness has been both a blessing and a curse. Her social media presence, while endearing to her Gen Z fanbase, has sparked backlash from conservative audiences and industry insiders. In August 2024, she posted “free Palestine” on X alongside promotional content for Snow White, prompting Disney producer Marc Platt to fly to New York to address the issue. The post, which garnered 8.8 million views, was seen as a risky move that alienated a portion of the film’s audience. She later doubled down with posts criticizing President Donald Trump and his supporters, further polarizing her public image.

These incidents have fueled accusations of unprofessionalism. Jonah Platt, the son of Snow White producer Marc Platt, publicly called Zegler “immature” and “narcissistic” in a now-deleted Instagram comment, blaming her for the film’s failure. “Tens of thousands of people worked on that film,” he wrote, “and she hijacked the conversation for her own desires.” While Zegler retained the support of some fans, who praised her for standing her ground, the negative press has taken a toll.

Her casting as Eva Perón has also stirred controversy. Madonna, who won a Golden Globe for her portrayal of Evita, reportedly feels “slighted” by Zegler’s failure to acknowledge her influence. According to the Daily Mail, Madonna, who underwent extensive vocal training for the 1996 film, believes Zegler’s omission of her name in promotional statements was disrespectful. “She’s not sure Rachel would have heard of Evita if not for her,” a source close to Madonna said. This perceived snub has added fuel to the narrative that Zegler lacks the humility expected of a young star.

The Evita Production: High Stakes, High Risks

Directed by Jamie Lloyd, known for his bold reinterpretations of classic works, this Evita revival was meant to be a showcase for Zegler’s vocal talents. The musical, which chronicles the rise of Eva Perón from poverty to First Lady of Argentina, demands a performer with both emotional depth and vocal range. Zegler, a self-professed fan of the show, seemed a natural fit. “Evita has been such an important musical to me since I was a little girl,” she said in a statement last month.

However, the production faces challenges beyond Zegler’s involvement. The London theater scene is highly competitive, with established hits like Les Misérables and The Phantom of the Opera drawing consistent crowds. A revival of a less frequently performed show like Evita relies heavily on star power and word-of-mouth buzz, both of which are currently lacking. “Theatergoers want a sure thing,” says West End producer Emma Clarkson. “With tickets as low as £29.50, it’s clear they’re trying to undercut the competition, but it’s not working.”

The casting of a Latina actress as Eva Perón, while historically accurate given Perón’s Argentine heritage, has also drawn some criticism. Zegler faced similar backlash for playing Snow White, a character traditionally depicted with “skin as white as snow.” While her supporters argue that her talent transcends such debates, detractors have used these casting choices to fuel online vitriol, further complicating her public image.

What Went Wrong?

The empty seats for Evita reflect a confluence of factors: Zegler’s damaged reputation, a lack of marketing momentum, and broader industry trends. The Snow White flop has cast a long shadow, making audiences wary of investing in her projects. “When a film as high-profile as Snow White fails, it’s not just a one-off,” says Cortez. “It signals to the public that something’s off, whether it’s the star, the studio, or the project itself.”

Disney’s handling of the Snow White controversy also hurt Zegler’s prospects. The studio scaled back the film’s premiere to a low-key event, signaling a lack of confidence. Reports of tension with co-star Gal Gadot, whose pro-Israel stance clashed with Zegler’s pro-Palestine posts, added to the negative buzz. Disney’s decision to hire a social media consultant for Zegler after her Trump-related posts suggests an attempt to rein in her outspokenness, but the damage was already done.

Moreover, Evita’s marketing has been lackluster. Unlike blockbuster musicals that rely on global tours or celebrity endorsements, the production has leaned heavily on Zegler’s name, which is no longer the draw it once was. “They needed a broader campaign,” says Clarkson. “A teaser trailer, a star-studded gala, something to generate excitement. Instead, it’s been radio silence.”