Dear Evan Hansen – Nottingham Playhouse

Music and Lyrics: Benj Pasek and Justin Paul

Book: Steven Levenson

Director: Adam Penford

“Today is going to be a good day. And here’s why…”

One thing is almost guaranteed – if you go to see a Nottingham Playhouse production you won’t be disappointed. Dear Evan Hansen is certainly no exception, as the capable hands of Adam Penford and the creative team around him have turned out what has to be one of the must-see shows of the season.

Evan Hansen is an anxious schoolboy who desperately wants to fit in. Too shy and nervous to deal with people, his therapist suggests he write letters to himself – but one day one of his letters falls into the hands of another student, Connor Murphy. When Murphy later takes his own life, Evan gets drawn deeper into a web of lies and fabrications as that seems to be the way to find acceptance – but can this continue for ever, and what might happen if it all unravels?

This is an incredibly slick production as every part seems to mesh together seamlessly from end to end. Morgan Large’s set allows the different locations to come and go effortlessly, with lighting by Matt Daw and video by Ravi Deepres both being absolutely integral to the production, each adding dimensions and layers of depth, every item in its own way contributing as much as any cast member. This is the first UK production of Dear Evan Hansen to include an ensemble, and although it’s not a dance-heavy show the movement by Carrie-Anne Ingrouille fits the tone of the production beautifully and makes its own contribution to the overall effect.

Every production stands and falls on the quality of its cast, and Ryan Kopel is simply outstanding in the iconic role of Evan Hansen. Vocally he’s superb, but that’s only part of it. He invests so much into his character that you never for one moment doubt his authenticity. The nervousness, the posture, the little twitches and tics, the facial expressions of worry, relief, barely holding himself together – you see his confidence slowly growing then everything come crashing down, then slowly growing again. He makes you just want to jump up on stage, give him a hug and tell him it’s all going to be OK.

Kopel is surrounded by a magnificent supporting cast too. Lauren Conroy is a bitter Zoe Murphy who slowly warms, with Alice Fearn in good voice as Evan’s worried but absent mother Heidi. Killian Thomas Lefevre is in great voice as a resentful Connor Murphy, And Helen Anker and Richard Hurst give good performances as Connor’s warring parents Cynthia and Larry, brought together by tragedy and hope.

It’s not all deep and emotional, and lighter moments are added by Tom Dickerson as Evan’s friend Jared who gets drawn in by doing Evan a favour, and fellow student Alana (Vivian Panka) who’s desperate to jump onto the bandwagon.

Bej Pasek and Justin Paul have created a memorable score which contains some of the biggest musical theatre songs of the last decade, and Steven Levenson’s book gives us a storyline which is totally believable. It’ll make you emotional, it’ll make you uncomfortable, it might even make you angry as events spiral out of control, but it’s something that you will most likely remember for a long time to come.

You’ll struggle to find a show done better than this sure-fire hit. When the show ended on press night it felt as though nobody wanted to be the first to break the spell by leaving the auditorium, it’s that engrossing.

It’s on tour until May. Don’t miss the opportunity to see it – you won’t regret it.

Runs until 28 September 2024 and on tour