CentralDramaMusicalReview

Dear Evan Hansen – Royal & Derngate, Northampton

Reviewer: Kerrie Walters

Music and Lyrics: Benj Pasek and Justin Paul

Book: Steven Levenson

Director: Adam Penford

Fresh from its West End occupancy, Dear Evan Hansen has been thoroughly reworked and isTrh heading out on a UK tour with a stellar cast in tow. The story is very much a tragedy of errors, exploring themes of mental health, drug addiction, isolation, grief, and teen suicide. Centred around two families, the Murphys and the Hansens, it deals with the fallout of a tragic event.

With such heavy emotional content, it is recommended that only patrons over the age of 12 be admitted to the auditorium.

Evan attends high school, your typical shark tank of angsty teen stereotypes and finds himself very alone. That is until one tragic event happens and one of Evan’s therapy letters is found, placing him at the centre of the action. From here, a small white lie snowballs out of control, and the full gamut of human grief is laid bare for the audience.

The musical numbers by Benj Pasek and Justin Paul complement the story exceptionally well. Not only are the songs relevant and fit in seamlessly, but they also connect emotionally with the plight of each character at crucial moments of their journeys. On the subject of mental health, for example, Disappear exposes the private emotions of the characters to reveal that everyone suffers from a level of angst and anxiety that they do not share.

The show’s mantra, No One Deserves To Be Forgotten, beautifully illustrates the various emotional intentions and perspectives as each character comes to terms with the tragedy that has occurred

Despite Evan Hansen being the protagonist, every character faces their own struggles and this adds more authenticity to the relationships that develop on stage.

Alice Fearne delivers a gut-wrenching performance as Heidi Hansen, beautifully portraying the strength and grit of a hard-working single mother. She encapsulates the conflicting emotions of loss, grief, and helplessness experienced while raising a teenage son with mental health challenges, alongside the proud determination of a mother who has raised a child alone. In Good For You, her sledgehammer of a voice rings out in the auditorium as she belts this intense and emotional number. Aggressive, proud and fragile, Fearne is the perfect Heidi Hansen with a dynamic and intense onstage chemistry with Evan (Ryan Kopel).

Kopel brings to life the powerful and emotional story of a young and vulnerable Evan who finds it harder than most to feel accepted by others and who is in therapy to accept himself. He embodies Evan with an impressive gravity. He is visually awkward and carries himself with an angsty air but bubbling under the surface is a steely grit that flashes through occasionally making him the ideal choice. His stunning rendition of You Will Be Found, supported by the unstoppable Vivian Panka and ensemble cast, brings the first act to a close to rapturous applause.

The set by Morgan Large has been reworked since the show’s London occupancy and has been replaced by a wall of glass panelling: the set looks like a greenhouse, which is aptly metaphoric for the growth and nurturing that takes place during the arc of the story. Simultaneously, the glass panels pop and light up, and are projected onto at key moments to reflect the uber-digital world of a modern teenager. The layering of projection in this way shows the intense overwhelm one feels when immersed in the internet for too long.
Aside from the greenhouse panels at the back of the stage, simple set pieces are wheeled on and off throughout the show to convey space and setting; these are on tracks to ensure smooth transitions in and out of scenes.

Whilst Adam Penford has produced a tighter version of the show than its West End counterpart, Act Two still has its pacing issues. Songs like How To Break in a Glove go on for a little bit too long and seem to have a trudging effect on the momentum. Nevertheless, despite its pacing issues, Dear Evan Hansen is a thoroughly enjoyable show with an excellent score and some stunningly beautiful performances.

Runs until 18 January 2025 and on tour

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The Central team is under the editorship of Selwyn Knight. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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