Here’s a question: Who was the first ever female president of a country? If you’re thinking Eva Peron, think again. It was actually Isabel Peron—Juan Peron’s third wife, a nightclub dancer 35 years his junior, whom he met while living in exile in Panama.
Age gap aside, Isabel’s story is as fascinating as it is surreal, and it’s baffling that Lloyd Webber and Rice didn’t plunder this for their Argentine political epic. Yet somehow, she remains virtually unknown, even in Argentina. Her rags-to-riches tale comes with more than a sprinkle of the bizarre.
The broad strokes: they meet in Panama, fall into a relationship, she becomes his secretary, they relocate to Spain and – in a plot twist no one saw coming – have Evita’s “lost” body shipped over and installed in their bedroom. At the foot of their bed.
When Juan grows homesick years later, he dispatches Isabel to Argentina to test the political waters. She connects with Peronistas and appoints a wizard (yes, an actual wizard) to help orchestrate Peron’s return. Fast forward: Peron reclaims the presidency and names his wife Vice President. Upon his death, Isabel ascends to the top job, running Argentina with support from (or possibly under the control of) said wizard, until the military boots her out and she flees back to Spain.
Now there’s a story. That this remains obscure feels incredulous, and it’s the anchor for Evita Too. Sh!t Theatre (Rebecca Biscuit and Louise Mothersole) have created something that lives between cabaret and narrative performance, blending comedy, songs, political history, and a dash of investigative journalism. This isn’t simply Isabel’s story retold; it’s a mash-up of her narrative, their relationship with it, and a running interrogation of why the world’s first female president has been all but erased from history.
While there’s a strong feminist undercurrent, this is no earnest call to arms. This is fact made funny—very funny. Biscuit and Mothersole are magnetic performers who’ve found a way to deliver political history that captures both mind and imagination. The disco-infused songs are informative, catchy, and hilarious, propelling both story and commentary forward with infectious energy.
The production keeps things refreshingly simple: a couple of chairs, some curtains, and a large video projection that does the heavy lifting, showing archival footage, factual images, and helpfully displaying song lyrics as the duo performs. It’s lo-fi in the best possible way, placing the focus squarely on the performers and the extraordinary tale they’re telling.
Yes, the narrative occasionally meanders, but that’s part of the show’s ramshackle charm. This isn’t polished West End slickness; it’s two brilliant performers mining a forgotten corner of history and emerging with something genuinely revelatory. In a world where we’re constantly told there aren’t enough stories about women, Evita Too unearths one that’s been hiding in plain sight all along, and makes it an absolute riot in the process. Catch it while you can.
Runs until 31 December 2025
