Michael Cox reviews a production ‘that means well and offers an emotional journey with pure intent’.
Dear Evan Hansen is a theatrical phenomenon. Winner of multiple awards for both its Broadway and West-End runs, the musical is a modern touchstone for young people. With its themes of bullying and the ills of social media, it’s easy to see why.
For those who don’t know the story, the plot takes some turns quickly. To play fair, all that will be said is that the focus is on young American high schooler Evan: socially awkward and struggling to fit in. Evan has a supportive mother who wants the best for him but is overworked and underpaid, meaning Evan must fend for himself much of the time. He’s in therapy and has been encouraged to write notes to himself to deal with his mental health. It doesn’t help that he has no friends and has a broken arm currently in a plaster cast.
However, a few unfortunate run-ins at school and a well-meaning misunderstanding later, Evan finds himself in turmoil over a well-intentioned but spiralling lie.
In truth, the plot itself is rather thin. Many films and TV programmes have covered similar themes in a much shorter span than the nearly three-hour run time here. And most of the characters are borderline stereotypes—the plot is inevitable because we have seen these characters countless times before.
However, what Dear Evan Hansen has going for it is its heart—it is a musical that means well and offers an emotional journey with pure intent. There are no villains here—just decent people wanting to be kind and supportive but failing to communicate. It is the equivalent of a puppy—waging tail, eager to please and difficult to resist.
The music and lyrics by writing team Benj Pasek and Justin Paul serve the story well. There are no forced showstoppers, but each number ends on an emotional crescendo. Steven Levenson’s book is clear—the characters might be stereotypical, but the dialogue rings true enough and gives each character understandable depth. Adam Penford’s direction is sharp and engaging, and the design concepts are mostly simple with interesting media flourishes.
What this tour has going for it, however, is its stellar cast—there isn’t one performance below fantastic. The six-member ensemble offer solid support throughout, and Tom Dickerson and Vivian Panka have great moments as supporting characters Jared and Alana. The four-member Murphy family are brilliantly played: Killian Thomas Lefevre shines as Connor, Helen Anker and Richard Hurst are believable as sympathetic parents Cynthia and Larry, and Lauren Conroy is terrific in the crucial role of Zoe.
Alice Fearn is wonderful as Heidi Hansen, a maternal role that could have been predictable but comes across as the most understandable and believable character. But the show hinges on its lead, and Ryan Kopel is absolutely outstanding as Evan—a difficult role that is played with humour and empathy.
What the musical lacks in originality is more than made up for in its spirit. Dear Evan Hansen doesn’t just mean well but knows how to play the heartstrings with aplomb.
-700.jpg)
Dear Evan Hansen performs at the King’s Theatre in Glasgow until March 1, 2025. It then continues its tour of the UK, including Scottish stops in Aberdeen’s His Majesty’s Theatre (March 4-8) and the Edinburgh Playhouse (July 1-5). For further details, go to the tour’s website.
Photo by Marc Brenner
RSS