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.
Evita Act 2 songs
You may have heard these next two songs before! These are sung by Rachel Zegler from the balcony of the London Palladium, if you’d like to watch her live check out our guide on the best place to stand and when to get to Argyll Street to see her .
On the Balcony of the Casa Rosada
Eva speaks to the masses from the presidential balcony after Perón’s election. The crowd’s adoration contrasts with Che’s skepticism. It’s a turning point in Eva’s transformation into a national figure.
Don't Cry for Me Argentina
Eva’s most iconic ballad, pleading for the people’s understanding and love. Both grand and vulnerable, it defines her legacy. In Jamie Lloyd’s revival, it’s sung from the actual theatre balcony, an unforgettable moment.
High Flying, Adored
Che reflects on Eva’s rapid ascent and the cost of her fame. It’s a mournful and lyrical interlude. The song underscores the fleeting nature of public adoration.
Rainbow High
Eva prepares for a European goodwill tour, declaring her image essential to Argentina’s success. The number is glamorous and defiant. It marks her full embrace of spectacle.
Rainbow Tour
The ensemble narrates Eva’s mixed reception in Europe. Some audiences adore her; others reject her. This satirical piece reveals the limits of charisma on a global stage.
The Actress Hasn't Learned the Lines (You'd Like to Hear)
Eva resists scripted expectations during her European trip. She asserts authenticity over diplomacy. Che’s mocking tone frames her as both savvy and stubborn.
And the Money Kept Rolling In (And Out)
Che critiques the Eva Perón Foundation and the murky ethics behind it. This high-tempo number shows how charity became political theatre. The irony is sharp and unrelenting.
Santa Evita
A children’s chorus deifies Eva as “Saint Evita.” It reflects how myths begin even before death. The innocence of the voices contrasts with political manipulation.
Waltz for Eva and Che
A rare direct confrontation between Eva and Che. They dance and argue, representing opposing worldviews. The waltz form lends it grace, even as the content turns bitter.
You Must Love Me
Added for the 1996 film and included in later revivals, this ballad reveals Eva’s vulnerability and need for love. It’s a quiet plea amid political chaos. Intimate and deeply human.
She Is a Diamond
Perón’s military supporters defend Eva despite public backlash. They see her as politically valuable. The number reveals how even allies reduce her to a tool.
Dice Are Rolling
Eva and Perón weigh their political options as her health declines. The tension is thick, and ambition remains despite looming tragedy. The music reflects anxiety and urgency.
Eva’s Final Broadcast
Eva delivers a farewell address to the people. Her body weakens, but her voice remains powerful. It’s a blend of dignity, regret, and performance.
Latin Chant
A brief interlude blending Catholic ritual and cultural symbolism. It creates a sacred mood as Eva’s death approaches. The chant emphasizes her transformation into a spiritual figure.
Lament
The final song, with Che reflecting on Eva’s death and legacy. Is she a saint, a fraud, or both? The ambiguity lingers, haunting the audience as the curtain falls.