Rachel Zegler’s London Stage Debut Faces Scrutiny Amid Claims of Low Ticket Sales and Post-Snow White Struggles—Uncover Why Her Evita Run Is Stirring Buzz!
Rachel Zegler, the 23-year-old star of Disney’s Snow White (2025) and West Side Story (2021), has been thrust into the spotlight again, this time for her upcoming West End debut as Eva Perón in a revival of Andrew Lloyd Webber’s Evita at the London Palladium, set to run from June 14 to September 6, 2025. Following the box-office disappointment of Snow White, which grossed $225 million worldwide against a $270 million budget, reports have surfaced claiming Zegler appears “miserable” and that Evita is struggling with ticket sales, with rows of seats unsold at the 2,286-seat venue. Sparked by a YouTube video and amplified by X posts, these claims paint a narrative of career turmoil, but conflicting reports and Zegler’s proven talent suggest a more complex story. Drawing from online sentiment and industry insights, this article explores the controversy, Zegler’s transition to theater, and why her Evita run is generating heated discussion in 2025.
The “Miserable” Narrative and Ticket Sales Claims
The controversy began on April 23, 2025, when a YouTube video titled “Rachel Zegler looks MISERABLE! Snow White star’s new London play not selling tickets!” went viral, as shared by X user @YellowFlashGuy. The video alleges Zegler’s demeanor reflects distress following Snow White’s failure, with some speculating she’s using her dog to garner sympathy online. It cites a Daily Mail article claiming Evita ticket sales are dismal, with “rows of seats” unsold for June, July, August, and September, despite tickets starting at £29.50. Cosmic Book News echoed this, stating the London Palladium’s website shows “awash in ‘green good’ availability,” framing Evita as a flop before its June 14 opening.
These claims build on Snow White’s troubled rollout, which saw a $115 million loss after a $43 million domestic opening, hampered by Zegler’s controversial comments on the 1937 original, her pro-Palestine posts, and anti-Trump remarks. The film’s 40% Rotten Tomatoes score and accusations of being “woke” fueled backlash, with some blaming Zegler for alienating audiences. The Evita narrative suggests her career is faltering, with reports portraying her as a polarizing figure unable to draw crowds to the 2,200-seat Palladium.
Conflicting Reports and Industry Context
Contrasting reports challenge the “flop” narrative. On March 14, 2025, Deadline reported that Evita had sold close to $4 million in tickets before Zegler’s casting was announced, driven by director Jamie Lloyd’s reputation and the musical’s iconic score, including “Don’t Cry for Me Argentina.” Lloyd praised Zegler’s “phenomenal talent,” predicting she’d “blow the roof off” the Palladium, suggesting strong confidence in her draw. The Palladium’s intimate 2,200-seat configuration, despite its size, supports high ticket prices, and Zegler is among the highest-paid stars on the West End this season, indicating significant investment.
The Daily Mail’s claim of unsold seats, cited by Cosmic Book News, lacks specifics on sales data or comparison to typical West End runs, where tickets often sell closer to opening. The Palladium’s website showing “green good” availability could reflect standard pre-sale patterns, not failure, especially with rehearsals starting April 28, 2025. Zegler’s Broadway debut as Juliet in Romeo and Juliet (September 2024–February 2025) sold well, per industry buzz, suggesting her stage appeal remains strong. The “miserable” claim, tied to unverified visuals, may exaggerate her emotional state, as no direct evidence confirms her distress beyond speculative X posts.
The Snow White Fallout
The Evita controversy is inseparable from Snow White’s fallout. The live-action remake faced relentless scrutiny, from racist backlash against Zegler’s Latina casting to dwarfism representation debates, with actors like Peter Dinklage criticizing the film’s approach. Zegler’s 2022 comments at D23, calling the original’s prince a “stalker” and emphasizing Snow White’s leadership over romance, alienated purists, as did her refusal to sing “Someday My Prince Will Come.” Her August 2024 X post, “and always remember, free Palestine,” posted alongside Snow White trailer hype, drew ire, reportedly spiking death threats against co-star Gal Gadot, an Israeli, prompting Disney to hire extra security. Zegler’s November 2024 Instagram posts—“Fuck Donald Trump” and wishing Trump supporters “never know peace”—further polarized fans, leading Disney to assign her a social media guru.
The film’s $225 million global gross, with $100 million domestic, fell short of its $270 million budget, marking a $115 million loss after ancillaries. Critics like Jonah Platt, son of producer Marc Platt, called Zegler “immature” and “narcissistic,” blaming her for hurting the film’s performance, a sentiment echoed by Ariana DeBose, her West Side Story co-star, in a cryptic Instagram post. Industry voices, like Fox News’ Zack Peter, argued Zegler’s politics alienated Disney’s family audience, while others, like Deadline, noted the broader challenge of remaking old IP like Dumbo ($115 million gross).
Zegler’s Career Pivot to Theater
Zegler’s Evita role marks a strategic return to her musical theater roots, following high school roles as Belle, Ariel, and Fiona, and her Broadway stint as Juliet. Evita, directed by Lloyd, known for bold revivals, is a dream role for Zegler, who told Deadline she sang its songs with her father as a child. Her lyric soprano and stage experience make her a fit for Eva Perón, a complex figure whose rise from poverty to power mirrors Zegler’s own narrative. The 12-week run, produced by Lloyd Webber Harrison Musicals, aims to capitalize on her West Side Story Golden Globe win and vocal prowess, showcased in The Hunger Games: The Ballad of Songbirds & Snakes (2023).
The Snow White backlash may have impacted Zegler’s Hollywood prospects, with NewsNation reporting no upcoming film projects on IMDb, calling her “too dangerous to touch” due to her outspokenness. However, her Evita casting, finalized after complex negotiations, and Broadway success suggest theater is a safer space to rebuild her brand. X posts praising her Romeo and Juliet performance, like @Pirat_Nation’s, indicate a loyal fanbase, countering the “miserable” narrative. The Snow White controversy, including DeBose’s ambiguous post, may strain industry relationships, but Lloyd’s enthusiasm and $4 million in pre-sales signal confidence in Zegler’s stage draw.
Cultural and Industry Context
The Evita ticket sales debate reflects broader culture war dynamics, akin to controversies over The Last of Us Season 2’s queer representation or Oblivion Remastered’s body-type mod ban. Zegler’s pro-Palestine and anti-Trump comments, while resonating with some, alienated conservative audiences, as seen in Snow White’s stronger blue-state performance (60% of ticket sales). The “woke” label, applied to her and the film, mirrors criticisms of Marvel’s X-Men delays or Disney’s Mufasa: The Lion King, highlighting a polarized fanbase. Her Latina casting and feminist reframing of Snow White fueled accusations of “erasing tradition,” yet supporters, like Teen Vogue, argue the backlash was steeped in racism and misogyny.
Theater, unlike film, offers Zegler a controlled platform to showcase her talent without social media amplifying every misstep. Evita’s sales, if lagging, could reflect typical West End patterns or Snow White’s lingering impact, but the $4 million pre-sale and Lloyd’s track record suggest potential for a turnaround. The Palladium’s size requires strong sales, but Zegler’s fanbase, active on X, could drive last-minute purchases, especially among younger, diverse audiences drawn to her authenticity.
Looking Ahead
The “miserable” and “flop” narrative around Zegler’s Evita run is fueled by Snow White’s fallout and speculative reporting, but lacks hard evidence of failure. Her talent, evidenced by West Side Story and Broadway, and Lloyd’s confidence position Evita as a chance to reclaim her narrative. The controversy, amplified by X posts and outlets like Cosmic Book News, reflects a broader backlash against Zegler’s politics and identity, yet her resilience—seen in her Snow White Instagram post celebrating its No. 1 opening—suggests she’s undeterred.
As Evita nears its June 14 debut, ticket sales will clarify the narrative. If Zegler delivers, her performance could silence critics, much like The Last of Us Season 2 weathered its “woke” storm. For now, the West End awaits a star whose voice, both on stage and off, continues to spark debate. Step into the Palladium and see if Zegler’s Eva Perón rewrites her story.
