When I first heard that the Millennium Forum’s Youth Production for 2026 would be EVITA, I must admit I was initially surprised at this choice. Even if, like myself, you hadn’t seen the show before- you’ve most likely heard of Jamie Lloyd’s highly acclaimed revival from last summer starring Rachel Zegler, knew Madonna starred in the 1996 film adaptation, or are at least familiar with the famous song “Don’t Cry For Me Argentina”.

Associating these ideas with the reports of notoriously powerful, electric and therefore taxing vocals- not to mention the controversial First Lady of 1946 Argentina as the titular role- it may seem like an overly ambitious project for the 15-21 year old cast, orchestra and tech crew to take on. Even superstar Zegler was criticised as being too young to take on leading lady Eva Perón at the age of 24!

Despite this, and learning this team had only three weeks of rehearsals, I have grown to never underestimate the talent residing in our much-loved Walled City. EVITA is a rock opera musical with lyrics by Tim Rice and music by Andrew Lloyd Webber, which first appeared as a concept album in 1976 and, with much acclaim, opened on the West End in 1978, followed by a Broadway premiere the following year.

The story, as mentioned above, follows the life of Eva (Duarte) Perón- from her days as an ambitious young actress born in poverty to her marriage to Colonel Juan Perón, who would become President of Argentina the following year. Somewhat mirroring its original 1978 premiere in London, EVITA would follow ALW & Tim Rice’s successful Jesus Christ Superstar to the Millennium Forum stage this summer, which was brought to us in June by The Grove Theatre Group.

This production of EVITA was produced by David McLaughlin, directed by Jonathan Burgess, with music direction by Louis Fields and choreography by Leigh Chapman.

Taking on the titular role, is 17 year old Willow McIntyre- who was met with the heavy task of portraying not only such a complex, cunning, desperate and often artificial character, but also performing some of the most difficult vocals known in musical theatre. Having previously appeared in EVITA as the Child Soloist in the West End touring production, McIntyre has grown elegantly and wholeheartedly into this ‘full circle’ moment.

Alongside her, appears promising young performers Aidan McLaughlin as Juan Peron and Aaron McAteer as Che.

Despite understanding Juan Peron historically to be somewhat of a corrupt figure, McLaughlin’s portrayal is dignified and gentle, and you can’t help but feel the character with him from the look in his eyes. As McIntyre’s Evita lifts his Peron to political success, I couldn’t help but compare the pair visually to something like a Barbie and Ken, especially during Eva’s elaborate and famously glamorous “Don’t Cry For Me Argentina” on the Casa Rosada balcony while President Peron stands at her side quite ironically, like an accessory.

Che acts as a sarcastic narrator critiquing Eva throughout, who, depending on the production, can represent an Argentinian everyman, moral compass or Che Guevara, the anti-Peron politician– and understandably was noted by Andrew Lloyd Webber to be one of the most difficult roles to cast.

McAteer is cynical and sarcastic with both fierce and comedic moments throughout. A personal favourite moment of mine was his forced, clumsy dance with a weeping mourner at Eva’s funeral scene, making for quite a jarring opening to the show, and his character.

He is given the difficult task, in the opening few numbers especially, of being a reliable visual in this production- considering the rest of the bodies onstage are deflated and mourning.

As the ensemble burst into movement and dance, we understand we’ve made it to Eva’s lively, promising start in Buenos Aires. While “Don’t Cry For Me Argentina” may be the most famous number from EVITA- make no mistake that it’s the only star of the show.

For instance, a stand out to me included “The Art Of The Possible”, in which something like Chicago’s famous “Cell Block Tango” meets a menacing and deadly game of musical chairs, in which Juan Perón finishes victorious.

Another notable pick from me is the downhearted “Another Suitcase In Another Hall” performed beautifully by Clara Clements as the Mistress. I particularly enjoyed that in this portrayal, Mistress appears in a glittering white gown and blonde wig opposite McIntryre’s cunning Eva who is brunette and dressed in black. By the time she appears in her iconic ‘Evita’ look, we can’t help but associate this with an imitation of The Mistress- displaying the most famous image of Eva Perón is a facade. A very satisfying trick from Wardrobe by Helen Quigley & Amy Carroll!

Finally, I couldn’t talk about stand-outs without talking about “A New Argentina”- which is absolutely electrifying from the first note. McIntyre’s snarling belts, harmonies with the cry of McAteer- combined with the epic orchestra and the angelic chorus of the ensemble reminiscent of a Catholic choir, was enough to chill the audience goosebumps to the bone. This absolute feast of a musical theatre number is followed by the curtain falling for the interval- and will leave you absolutely starving for Act II.

It’s been my pleasure to attend and review this community-based production in a much loved venue that I’ve grown up with. I hope you don’t just take my word for it- and see for yourself that these young people have bright futures and “star quality”

While a completely sung-through musical with such a bizarre subject matter might not be everyone’s cup of tea, the Millennium Forum’s Youth Production is a strong way to be introduced this musical- from being intrigued to see someone you know be involved, to wanting your own slice of Rachel Zegler and Jamie Lloyd on your doorstep- EVITA is one Derry won’t soon be forgetting.

EVITA runs at the Millennium Forum until 1 August.

Reviewed by Séana, July 2026.

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