Rachel Zegler, the 24-year-old actress who rose to fame with her Golden Globe-winning performance in Steven Spielberg’s 2021 West Side Story, is no stranger to the spotlight—or the controversies that often come with it. Her latest venture, a starring role as Eva Perón in Jamie Lloyd’s revival of Evita at the London Palladium, was poised to be a triumphant West End debut. However, just weeks after rehearsals began on April 28, 2025, the production has hit a rough patch: ticket sales are shockingly low, with many seats unsold for the show’s run from June 14 to September 6, 2025. Amid this disappointing turnout, a claim surfaced on May 9, 2025, via a YouTube video shared on X by @Draculordx, alleging that Zegler’s team has blamed online trolls for the decline—a narrative that has sparked debate about accountability, celebrity culture, and the true reasons behind Evita’s struggles.

Zegler’s casting in Evita was announced on March 14, 2025, generating buzz for both her and director Jamie Lloyd, fresh off the success of his Olivier Award-winning Sunset Boulevard revival on Broadway. Zegler, who recently completed a successful Broadway run as Juliet in Romeo + Juliet alongside Kit Connor, expressed a deep personal connection to the musical, stating in a press release, “Evita has been such an important musical to me since I was a little girl, when my dad and I would sing ‘Don’t Cry for Me Argentina’ together on my back patio.” Lloyd praised her as a “phenomenal talent” who would “blow the roof off the London Palladium,” setting high expectations for the production, which officially opens on July 1, 2025. The cast, finalized by April 30, includes Diego Andres Rodriguez as Che, James Olivas as Juan Perón, Aaron Lee Lambert as Agustín Magaldi, and Bella Brown as The Mistress/Alternate Eva, supported by a full ensemble ready to bring Eva Perón’s story to life.

Despite the initial excitement, the production has struggled to fill the 2,286-seat London Palladium. The Daily Mail reported on April 22, 2025, that many seats remain unsold for June, July, August, and September, even with ticket prices starting at £29.50. This contrasts with earlier optimism from Deadline, which noted that nearly $4 million in tickets had been sold before Zegler’s casting was announced, suggesting her star power was expected to drive sales. To boost accessibility, 5,000 tickets were priced at £25 for under-30s, key workers, and those on government benefits, as reported by WhatsOnStage on May 12, 2025. Yet, these efforts have not translated into the anticipated demand, raising questions about why a high-profile production with a rising star like Zegler is faltering.

The claim that Zegler’s team blames online trolls for the ticket sales decline emerged on May 9, 2025, through a YouTube video shared on X by user @Draculordx, titled “Equipo de Zegler culpa a críticas en línea por bajas ventas de tickets en OBRA de TEATRO en Londres” (translated: “Zegler’s team blames online criticism for low ticket sales in London theater production”). The post suggests that Zegler’s representatives attribute the lackluster sales to negative online sentiment, presumably stemming from her recent controversies. However, this claim remains unverified by reputable sources like Variety, Playbill, or Deadline, and the lack of direct statements from Zegler’s team makes it inconclusive. Per guidelines, X posts can reflect sentiment but are not factual evidence, so this narrative must be treated with skepticism.

Critically examining this claim, it’s worth exploring the context of Zegler’s recent public image. She has faced significant backlash in the past year, particularly over her comments about Disney’s live-action Snow White, released on March 21, 2025. Zegler called the 1937 animated classic “dated” and described the Prince as a “stalker,” remarks that sparked outrage among fans who felt she disrespected the original, as reported by London Theatre Reviews. The film, which cost at least $350 million to make and market, has underperformed, earning only $184.9 million globally, according to the Daily Mail. Additionally, tensions with co-star Gal Gadot over differing political views on the Israeli-Palestinian conflict further tarnished Zegler’s image, fueling a narrative of her as a polarizing figure. This backlash has likely contributed to online criticism, which her team might be referencing—if the X claim holds any truth.

However, attributing Evita’s ticket sales decline solely to online trolls seems overly simplistic and raises questions about accountability. The production’s challenges may stem from broader factors unrelated to Zegler’s controversies. For one, the West End market is highly competitive, with numerous high-profile shows vying for audiences in 2025, including The Devil Wears Prada and Cabaret, which have garnered significant buzz. Evita, while a classic, may not resonate as strongly with younger audiences, despite efforts to make tickets affordable. Lloyd’s 2019 production at Regent’s Park Open Air Theatre was critically acclaimed, earning two Olivier Award nominations, but this revival, described as an evolution with “new elements” by West End Theatre, may not have captured the same excitement. The musical’s historical context—chronicling Eva Perón’s rise and fall—might also feel less relevant to modern audiences compared to more contemporary narratives.

Moreover, Zegler’s casting, while a draw for some, may not be the box office magnet producers hoped for. Despite her success in West Side Story and Romeo + Juliet, which recouped its $7 million capitalization by February 2025, her recent projects like The Hunger Games: The Ballad of Songbirds & Snakes (2023) and Shazam! Fury of the Gods (2023) have had mixed reception. Her Snow White controversy may have alienated some fans, but it’s a stretch to claim that online trolls alone are responsible for Evita’s sales woes. The production’s marketing strategy, ticket pricing, and overall appeal likely play larger roles, yet Zegler’s team—if the X claim is accurate—appears to be deflecting blame onto external factors rather than addressing internal challenges.

This narrative also reflects a broader trend in celebrity culture: the tendency to scapegoat online criticism for professional setbacks. While trolls can amplify negative sentiment, their impact on ticket sales is often overstated. Zegler has faced genuine scrutiny, including microaggressions about her Latina identity during her early career, as she shared in a 2025 Allure interview, but equating this to the sole cause of Evita’s struggles dismisses the complexity of theater economics. It also risks infantilizing Zegler, portraying her as a victim rather than a professional capable of navigating criticism, a pattern often seen with young women in the spotlight, particularly those of color.

Zegler’s journey with Evita is further complicated by another unverified rumor: a May 13, 2025, YouTube video and X posts claimed that Jamie Lloyd fired her due to alleged behavior during rehearsals, a claim lacking specifics and unconfirmed by reputable outlets. The absence of such reports from sources like Playbill or Deadline, combined with Zegler still being listed on the production’s official website, suggests this rumor is likely false. However, it underscores the intense scrutiny Zegler faces, which may contribute to the narrative her team is pushing about online trolls—if the @Draculordx post reflects their stance.

Looking at the establishment narrative, it’s worth questioning whether Zegler’s team is using the “trolls” excuse to deflect from deeper issues. Lloyd, a seasoned director, has a track record of successful revivals, and Zegler, at 24, is among the youngest to play Eva Perón, bringing a fresh perspective to the role. Yet, the production’s slow sales suggest a disconnect with audiences that predates any online backlash. The theater industry has faced challenges post-COVID, with rising ticket prices and changing audience habits, as noted in broader industry reports from 2024. Blaming trolls might be a convenient narrative, but it overlooks these systemic factors and the production’s own strategic missteps.

As Evita approaches its opening, the focus should be on Zegler’s performance and the production’s artistic merits, not unverified claims or online drama. Zegler has proven her resilience, from her breakout in West Side Story to her Broadway success, and her personal connection to Evita suggests a deep commitment to the role. Whether the production can overcome its current hurdles remains to be seen, but dismissing the ticket sales decline as the fault of “trolls” feels like an oversimplification—one that fails to address the real challenges facing this high-stakes revival.