Does Jamie Lloyd elevate Evita more than any interpreter has ever juiced the original material?

Evita has always been a partial satire about craven populism, in the key of craven populism, composed by one of our most craven populists. 

Emphasis on partial, because the writing falls into the artistic traps of Andrew Lloyd Webber’s craven populism. 

And yet, perhaps Jamie Lloyd needed the musical to be a problematic document of problematic populism to craft it into his onslaught of commentary. 

Self-consciousness would’ve deprived Evita of being an authentic receipt of authentically craven populism.