The musical Dear Evan Hansen has always been an emotionally powerful show that, even though it debuted on Broadway ten years ago, is still highly relevant today as mental health has become such a critical issue for many high school students.
Evan Hansen is an extremely anxious high school student, on
medication and seeing a therapist for his debilitating condition. He
has no friends and, for all intents and purposes, is invisible to his
peers. He is alone, until a classmate commits suicide. Through an
escalating series of lies, fueled by unceasing and insatiable social
media networks, his stature and presence begin to change with
unanticipated and distressing results.
The book by Steven Levenson is an emotional rollercoaster of
impassioned scenes and straightforward honesty that connects to today’s
teenagers. The story can sometimes be agonizing to watch as the
characters try to negotiate the new landscape that is developing,
changing, and spiraling out of control all at once. But Dear Evan Hansen
is not just about angst and crisis. It also focuses on a multitude of
relationships that are spawned and changed from the events on stage.
The score by Benj Pasek and Justin Paul is heartfelt with penetrating
lyrics that explore the inner turmoil Evan is going through as he
confronts a new reality. The songs can be raucous with an in-your-face
impact. They are playful, with a serious undertone. And there are
tender ballads that reach to the depths of the character’s souls as well
as reveal the agony individuals feel upon the death of a son.
Kenny Lee stars as Evan Hansen who, as directed by Scott Schwartz, is
inexplicably overly apprehensive with nervous tics, and fixations like
constantly pulling on his polo shirt. While the character is supposed
to be tense and susceptible to panic attacks, the portrayal is too
over-the-top, which yields an imbalance to the production. Lee,
however, like the rest of the cast, does have a wonderful voice that
successfully convey the struggles he is facing.
The other members of the cast are superb. Olivia Foght, a recent
graduate of the Boston Conservatory at Berklee, is outstanding as Zoe,
the sister of the deceased student. The young actress deftly projects a
lost innocence and whirlwind of emotions as she tries to make sense of
the sudden change in her family dynamics and personal life. Heather
Ayers, as Cynthia Murphy, and Gil Brady as Larry Murphy, parents of the
departed son, are terrific. Their grief, confusion, and inner family
turmoil strikes a chord with the audience.
Maya Evans, as Evan’s mother Heidi, aptly and poignantly portray a
mother frustrated and panicked over a son she cannot reach. Erik Houck
as Connor Murphy, the high school student who suddenly passes away,
gives a marvelously layered performance in life and death. Josh Hoyt as
Evan’s “relationship friend,” Jared Kleinman, provides a good dose of
comic relief to off-set the weighty mood of the show. Amaya White
provides an exuberant performance as high school classmate, Alana Beck, a
student not unlike Evan Hansen who yearns to be seen and recognized.
Except for the misstep with the character of Evan Hansen, Director
Scott Schwartz proficiently guides the production from its inauspicious
beginnings through to its cathartic ending. He intelligently allows the
material to unfold naturally without calling undue attention to the
series of events that are unfurling onstage. Schwartz skillfully
incorporates the three mini-sets by Scenic Designers Christopher and
Justin Swader into the show and nimbly integrates Camilla Tassi’s video
projections of the social media maelstrom through pulsating,
ever-changing window treatments. Lighting Designer Charlie Morrison and
Sound Designer Shannon Slaton effectively add to the hive of activity
that enhances the dramatic tension of the musical.
Dear Evan Hansen, playing at A.C.T. of CT through June 21. Click here for dates, times, and ticket information.





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