In the theatrical tactic “breaking the fourth wall”, characters acknowledge the presence of the audience. As when, in the current National Theatre production of Stephen Sondheim’s final musical, Here We Are, the performers, walking forward, stop in shock at seeing a big room full of strangers.
The director Jamie Lloyd, though, is pioneering a technique that might be called breaking the theatre wall. In his revival of Evita, previewing at the London Palladium, Rachel Zegler’s Eva Perón sings Don’t Cry For Me Argentina – supposedly delivered from the Casa Rosada presidential balcony in Buenos Aires – from the balcony outside the Palladium, while the audience inside has to settle for a video feed.
