It’s a new week at the London Palladium, where the cast of Evita is recovering from a bout of illness. “We were barely making it through last week,” says James Olivas, who plays Juan Perón. “We had understudies stepping in and performers covering multiple roles—things we’d never done before—just to keep the show going. But everyone’s so talented that it all worked out.”

Remarkably, the audience noticed none of the backstage chaos. Reviews of Jamie Lloyd’s West End revival of Evita—Andrew Lloyd Webber and Tim Rice’s 1978 musical—have praised the cast’s chemistry and electrifying energy. This modern, high-octane retelling of Argentina’s most famous first lady (played by Rachel Zegler) features rock-inspired numbers, Beyoncé-worthy hair flips, and a sharp exploration of populism and fame. Opposite Zegler is Olivas, who brings a brooding, menacing edge to Perón—a role typically played by older actors, making his casting at 28 particularly striking.

When we speak just before his pre-show warm-up, Olivas is cheerful and quick to laugh—a stark contrast to his character. Diego Andres Rodriguez, who plays Che, waves from the background of our Zoom call. (The two share both a Camden apartment and a dressing room deep in the Palladium.) It’s their first time in the UK. “On days off, we try to explore as much as possible,” Olivas says. They’d hoped to see Mariah Carey at Brighton Pride but settled for a Sunday roast at The Greyhound, strolls through Kew Gardens, and drinks by the Thames in Richmond. By the time rehearsals ended, they’d checked off all the classic tourist spots.

Olivas grew up in Houston, Texas, before moving to Los Angeles for school. Initially focused on sports—football, basketball, water polo—and planning to follow his father into mechanical engineering, a knee injury and exposure to L.A.’s theater scene changed his path. (His mom, tired of hearing him sing in the shower, eventually nudged him into a community production of Ragtime.) “After that, I threw myself into acting,” he says. “But I still thought of it as a side gig—something I’d do outside a stable 9-to-5.” Growing up in conservative Texas also meant unlearning limitations about who he could become.

“In college, I had to choose: theater or engineering. I took the leap. And now here I am, on the West End.”

The production has captivated sold-out crowds and passersby alike, especially with Zegler’s now-viral balcony scene. Inside the theater, Olivas commands the stage with quiet intensity.

Here, he talks to Vogue about reimagining Perón for today, the show’s political resonance, and his love of puzzles.

Vogue: Hi, James! How are you settling into the role? This is a very different take on Perón.
James Olivas: My natural instinct is to pour energy into everything—if I’m unsure, I push harder. But Perón is the opposite: deliberate, radiating absolute confidence. Over time, I’ve learned to embrace that stillness.

The real challenge? Making an impact without monologues or solos. It’s been a growth journey—hopefully a successful one. Traditionally, Perón is played by older actors, but we wanted him to feel relevant to 2025, to today’s politicians.I understand them now. Many people think they’ll recognize something bad when they see it—that when a dangerous figure appears on TV giving a speech, they’ll look obviously frightening, maybe with a sinister mustache. But no, these figures are often charming.

Has this affected how audiences respond to your performance?
Many people tell me after the show, “Great job, but I have to be honest—I didn’t like your character.” Well, you’re not supposed to! I appreciate the honesty, but the point isn’t to win you over with charm. It’s for you to see through the polished surface and recognize what my character truly is. Hopefully, this helps people develop better media literacy in real life.

It’s been incredibly rewarding to hear from first-time theatergoers, longtime Evita fans, and even those who saw the original production but now consider ours their favorite—our tone is completely different. As a Latino performer in London, it’s also meaningful to see audiences traveling from South America to watch a show about Latin American politics. There haven’t been many opportunities for our community to see themselves represented onstage.

Tim Rice was in the audience when I saw the show. Are you always aware of big names watching?
The day Tim Rice came was actually the first time Diego and I met him! Between acts, as we pass information backstage, we hear whispers about who’s in the audience. Andrew Garfield came a few weeks ago—I’m a huge fan of his work. We’ve also had Anna Wintour, Danny Ramirez, Maude Apatow… I’m forgetting so many.

How has your offstage friendship with Rachel influenced the show?
Our real-life friendship makes the onstage chemistry so much stronger. When you genuinely connect with someone, you can read each other’s energy, make choices together to bring the scene to life, and truly listen as partners. I think audiences feel that authenticity.

And how’s the dynamic with the rest of the ensemble?
At first, rehearsals felt isolating because of the show’s structure. Most of the cast was busy with big dance numbers, spending long hours on choreography while I stood aside. But once we got deeper into rehearsals, everything clicked. This cast is so welcoming—I couldn’t ask for a better group to spend this summer with.

Have you had time to see other London theater?
Our schedule is intense, but early on I caught Starlight Express—way crazier than I expected!—and Romeo and Juliet at the Globe (standing room, as it should be). I’m hoping to see Burlesque too—some friends are in it, and they’ve added Tuesday matinees.

Several cast members were in Hamilton, and our rehearsals overlapped with their final performances. It’s amazing to see them tackle something completely different. Barney Hudson, one of our swings, is one of the most explosive dancers I’ve ever seen—he’s been jumping into multiple roles lately. Aaron Lee Lambert, who played Washington in Hamilton, is our Agustín Magaldi. Sharing a dressing room with him is a joy—he’s so talented and kind.

What kind of roles interest you next?
I’ve done a lot of theater these past few years, and I love it, but I’d like to focus more on film and TV. Working consistently, project after project, is the dream—I want a prolific career. Theater will always be there for me between other jobs.I’ve been shooting a TV show and filming movies in between. Lately, I’ve been reflecting on how my character is, in many ways, a classic leading man—and I’m proud that this has established me as an actor who can play those roles. But what really draws me in are the weird, dark, and funny parts—the kinds of roles I haven’t had the chance to play yet, but that speak to my creative side. For example, I’d love to play the Emcee in Cabaret someday.

Politics—both small “p” and big “P”—also seems to weave through my work. I did American Idiot with Deaf West, where half the cast was deaf or hard of hearing. We performed in American Sign Language while speaking English, and it was a beautiful, eye-opening experience. Now, I’m conversationally fluent in ASL and take classes when I can. I’ve even developed this habit where I finger-spell while I talk! It’s great that London theaters offer BSL-interpreted performances, and I’d love to see even more accessibility in the arts.

Being away from the U.S. right now feels like leaving your house while it’s on fire. Diego Rodriguez, one of the most incredible performers I’ve worked with, comes from McAllen, a border town in Texas with limited arts education. As an actor, I can advocate for change, combining my two biggest passions—performance and staying engaged with the world—which feels really meaningful.

After such an intense show, how do I unwind? Diego and I usually head back to Camden and work on a jigsaw puzzle—right now, it’s a Shakespeare-themed one. You leave the theater buzzing with energy and need to wind down. He’s become a close friend, and I’m so lucky to have him… and the puzzles.

This conversation has been edited and condensed. Evita is playing at the London Palladium until September 6.