Evita Too - Edinburgh Fringe 2026

Evita Too

★★★★★ Who gets remembered? Who gets erased? Evita Too turns the machinery of patriarchy into one very funny, very filthy, very smart musical.

EVITA.

You know her.

The white dress.The balcony.The songs.The myth.

ISABEL?

Um.

This is precisely where Sh!t Theatre’s Evita Too begins to mess with us.

Rebecca Biscuit and Louise Mothersole have taken the enormous cultural phenomenon that is Evita and started pulling at its seams. Who was Eva Perón? Who was Isabel Perón? Why do we know one and barely know the other? And — most importantly — who gets to become a myth?

Isabel Perón became Argentina’s first female president.

Eva became Evita.

Therein lies a show.

And what a show.

History gets dragged into the rehearsal room, musical theatre gets put on trial, and Isabel Perón is caught somewhere in the middle. There are songs, puppets, video, wigs, jokes, historical research, tangents and the kind of gleefully anarchic theatricality that Sh!t Theatre have made their own.

It is chaotic.

It is funny.

It is very, very clever.

And underneath all that apparent mayhem is some seriously rigorous theatre-making.

Evita Too isn't a straightforward biography of Isabel Perón. Thank god. Instead, Sh!t Theatre use her as a way into something much bigger: the construction of political myth, celebrity, power and memory.

The Lloyd Webber and Tim Rice musical becomes both the culprit and the playground.

We aren't simply being told, here is the real story behind Evita.

We are being asked:

Why did this woman become a myth?

And why did that woman become a footnote?

The intersection of gender, political power and populism is explored with all the subtlety of a brick through a window and yet the thinking underneath it is anything but blunt.

Biscuit and Mothersole are terrific as ever. They ooze talent and have that rare ability to make an audience feel that we are all in on the joke together. Their rapport is infectious. Their timing is impeccable. Their theatrical confidence allows the show to veer off in seemingly ridiculous directions without ever completely losing us.

And then something happens.

The jokes start to land somewhere else.

Throughout the show there is a recurring image of ancient hands painted onto cave walls.

A hand.

I was here.

Thousands of years ago someone pressed their hand against stone and left a trace of themselves behind.

And suddenly this riotous investigation into Isabel Perón becomes something else.

Who gets remembered?

Who disappears?

What survives us?

What do we leave behind?

What remains when we are gone?

This is where Evita Too got me.

Because beneath the politics, the celebrity, the jokes and the glorious theatrical mess is a surprisingly tender meditation on death, grief, memory and legacy.

I was deeply moved.

And hovering behind all of this is the patriarchy of course, the systems that decide whose stories are amplified, whose power is legitimised, and whose lives become legend.

And yes, one critic has described the show's nudity as “unnecessary and irrelevant.”

Well. Thank you, Sir. Another man taking up space to tell us what women should and shouldn't be doing with their bodies. You can be the judge of that.

Sh!t Theatre's great achievement is that they make serious research feel like play. They make history unruly. They make political theatre funny. They make a musical about one forgotten woman while simultaneously asking why we remember anyone at all.

It is riotous.It is irreverent.It is ridiculous.

And then, it asks you to think about your own disappearance.

EVITA.

Remembered.

ISABEL.

Forgotten.

US?

Who knows.

For just over an hour, Sh!t Theatre make us think about what it means to leave a mark.

I WAS HERE. It's brillant - go see it!

Review by Kate Gaul

Image: Alie Wright