Evita, the legendary musical by Andrew Lloyd Webber and Tim Rice, tells the rise and fall of Eva Perón, Argentina’s First Lady turned cultural icon. Since its 1978 West End debut and 1979 Broadway opening, it’s captivated audiences with its rock-opera style, political themes, and timeless ballads like “Don’t Cry for Me Argentina.” A 1996 film adaptation starring Madonna and Antonio Banderas introduced the story to a new generation, winning an Academy Award for Best Original Song.
In 2025, director Jamie Lloyd brings a radical new staging to the West End, starring Rachel Zegler as Eva. Known for bold visual storytelling, Lloyd’s production features live-streamed balcony scenes and minimalist staging. Zegler’s performance has drawn critical acclaim for its emotional power and vocal precision, proving Evita remains as resonant today as ever.
Check out the full list of Evita songs in order below, including all of the numbers you can’t hear from Argyll Street.
Evita Act 1 songs
Cinema in Buenos Aires, 26 July 1952
The show opens in a movie theatre, where patrons are informed of Eva Perón’s death. The film abruptly stops, and mourning begins. This sets a somber tone, contrasting fame with mortality.
Requiem for Evita / Oh What a Circus
A choral requiem transitions into Che’s cynical commentary on the national mourning. “Oh What a Circus” critiques the spectacle surrounding Eva’s death. It introduces the musical’s recurring theme of myth versus truth.
Eva and Magaldi / Eva, Beware of the City
Teenage Eva persuades tango singer Magaldi to take her to Buenos Aires. Despite warnings, she’s eager to escape her small-town life. The song reveals her ambition and manipulative charm.
On This Night of a Thousand Stars
Magaldi sings a romantic ballad during a charity concert, reintroducing him in a new social setting. The song parodies classic Latin crooner style. It also highlights class and status in Argentine society.
Buenos Aires
Eva arrives in the city full of hope and determination. This energetic number captures her thrill and confidence. It’s one of the most vibrant, dance-driven moments in the show.
Goodnight and Thank You
Eva’s string of relationships is chronicled through a montage of discarded lovers. Che narrates her rise through charm and calculation. The song is brisk, ironic, and revealing of her social strategy.
The Lady's Got Potential
This number explores the early political rise of Juan Perón. Eva is drawn to his ambition and power. It hints that their union will serve both of their aspirations.
The Art of the Possible
A musical “game of chairs” symbolizes political jockeying among military men. Perón ultimately outmaneuvers his rivals. The minimalist staging underscores power dynamics through rhythm and tension.
Charity Concert
Eva and Perón meet publicly at a concert, beginning their political and romantic partnership. The ensemble watches as their connection forms. It’s a transition moment, setting up their climb to the top.
I'd Be Surprisingly Good For You
A sensual duet between Eva and Perón showing mutual seduction and ambition. The chemistry feels calculated yet intimate. It marks the beginning of their alliance.
Hello and Goodbye
Eva coldly dismisses Perón’s mistress to solidify her place beside him. This brief number demonstrates Eva’s ruthlessness. It’s sharp, short, and unapologetic.
Another Suitcase in Another Hall
The dismissed mistress reflects on her loss in this haunting ballad. It’s one of the most emotional and introspective songs in the show. A stark contrast to Eva’s rising fortune.
Perón's Latest Flame
Gossiping aristocrats and military men mock Eva’s background and ambitions. Their sneering tone shows classist disdain. It also foreshadows resistance she’ll face as First Lady.
A New Argentina
Eva rallies support as Perón positions himself for power. This explosive act finale blends personal passion with political revolution. It’s one of the show’s most climactic and urgent numbers.