Going to the theatre used to mean settling into your seat, grabbing a program, and bracing yourself for whatever surprises the performance had in store.
But in today’s more cautious climate, things are starting to look a little different—especially for those attending the latest West End production of Evita, headlined by Snow White star Rachel Zegler.
Audience Guide Sparks Backlash Over ‘Woke’ Cautions
His Majesty’s Theatre recently put out a detailed audience guide for Evita, aimed at prepping viewers—aged eight and up—for what’s in store.
But it wasn’t the plot or performances getting attention.
Instead, the show is facing ridicule for issuing warnings about loud music, sudden noises, strobe effects, and haze.
The idea was to inform attendees of potential sensory triggers, but not everyone was impressed.
Critics like Toby Young from the Free Speech Union didn’t hold back.
In a comment to The Sun, he mocked the cautionary approach: “This is beyond parody.
Soon theatres might start asking people not to clap so they don’t trigger noise-sensitive audience members.”
Zegler’s Balcony Performance Sparks Fan Fury
The tension reached new heights during a recent performance at the London Palladium.
After the show, Zegler sang Don’t Cry for Me Argentina from an outdoor balcony—drawing a crowd of fans in the street.
While it may have seemed like a generous gesture to some, ticket-paying fans weren’t so thrilled.
Social media lit up with frustration.
“I paid £350 for two tickets, and she’s singing the most iconic song for free to people outside?” one fan fumed.
Another commented that part of the theatre experience is “sharing the same space with the performer”—something they felt was undermined by the impromptu street concert.
Stage Legends Speak Out Against Trigger Warnings
Rachel Zegler’s Evita isn’t the first production to face scrutiny for modern theatre guidelines.
Stage legend Sir Ian McKellen has openly criticized the trend of trigger warnings, calling it “ludicrous.”
He even said he enjoys being caught off guard by dramatic stage moments like loud noises or shocking scenes.
Past productions like Phantom of the Opera have been flagged for giving audiences over a dozen warnings—ranging from pyrotechnics and gunshots to depictions of death.
For many long-time theatre lovers, the increasing focus on content advisories feels like it’s taking away the spontaneity and emotional intensity that live performance thrives on.
Zegler’s Disney Projects Also Draw Controversy
This isn’t the first time Rachel Zegler has found herself at the center of a “woke” firestorm.
Her recent Snow White reboot, produced with a staggering £200 million budget, was met with lukewarm reviews and underwhelming box office numbers—bringing in just £148 million.
Critics blasted the film for its radical departure from the 1937 classic.
Instead of following the traditional love story, the remake shifted focus toward Snow White becoming a strong, independent leader.
Zegler herself openly said the original version was “extremely dated” in how it portrayed women and emphasized that her version needed a modern update.
The film even ditched the original seven dwarfs in favor of CGI characters, which further fueled criticism.
Despite Zegler’s talent, reviewers weren’t impressed.
The Daily Mail’s Brian Viner gave it two stars, calling it “a muddle-headed affair,” while The Guardian’s Peter Bradshaw rated it a one-star “exhausting reboot.”
Political Opinions Add Fuel to the Fire
To top it all off, Zegler sparked additional backlash for her political comments.
In an X post from August, she ended a message about the Snow White film by writing, “and always remember, free Palestine.”
That single sentence reignited criticism around her public persona, with some accusing her of making entertainment overly political.
What Lies Ahead for Zegler?
Despite the noise—both literal and figurative—Rachel Zegler remains a polarizing yet undeniably talented figure in entertainment.
As the debates around her projects continue, audiences seem split.
Some appreciate the efforts to modernize stories and prioritize inclusivity, while others feel the heart of these productions is being lost in the process.
With Evita now under the spotlight, it’s clear that theatre is evolving—and not everyone is on board with the direction it’s heading.
Whether it’s warnings about stage effects or reimagining fairy tales, the conversation around what’s too much—or not enough—won’t be fading anytime soon.