Incredible vocals and slick sets combine for an impressive show that unfortunately struggles to engage at times, with dated references and a convoluted plot. Summary
Rating
Good
It’s always a bit of a challenge to review a show which has had so much praise already, particularly when that includes six Tony Awards and three Olivier Awards. Not to mention the hype around the production when it was on the West End. You enter the theatre with heightened expectations, with the confidence that you’re going to love it. Sadly, on this occasion, it didn’t quite hit the spot.
The show centres on a teenage boy, Evan Hansen, who gets himself embroiled in a lie that keeps building and gathering pace amongst his peers, parents and the internet. It’s a slightly ridiculous story, and with the increasing levels of deception in the first act, I felt exhausted ahead of Act 2 and the inevitable fall out.
Whilst the show has been praised for raising awareness of mental health issues and social anxiety over the last 10 years, the plot feels dated and at times jokes that were potentially funny in 2015 feel inappropriate in 2025. It raises the question of when a show can be considered a period piece, and when it just needs to move with the times a bit. Jokes about Facebook and blogs feel jarring, and some of the cruder humour between the teenage boys crosses into uncomfortable territory, in a way that doesn’t seem intentional.
The shows composers are Benj Pasek and Justin Paul, whose other work includes the songs in The Greatest Showman, and there are moments in this show where you can almost imagine Hugh Jackman bursting onto stage. Whilst they have a clear musical style that crosses projects, Dear Evan Hansen does have some stand out musical moments. ‘You Will be Found’ ahead of the interval is a triumphant moment that sets a few hairs on end, and ‘Good for You’ is an emotionally charged performance that allows Alice Fearn to shine. It’s a real treat to see her perform whenever the opportunity arises.
The entire cast are impeccable. Having not seen previous versions of the show, it’s hard to imagine anyone other than Ryan Kopel portraying Evan. Evan is clearly struggling, but he also does some truly awful things. He’s not a protagonist you will love, or even support, but Kopel handles this with skill and his vocal performances are flawless. Kopel and Fearn are surrounded by stars both in leading roles and in the ensemble, with Lauren Conroy and Vivian Panka bringing particularly memorable vocals to the stage.
As expected from a large national tour, the sets are slick and impressive. Sliding panes of glass divide the stage, and scene changes are barely noticeable. The final scene in an orchard is truly beautiful, even from my slightly restricted view. It would be lovely to see this scene face on. At moments when Evan’s work goes viral, screens pop up all over the place, effectively capturing that overwhelming feeling of his lie spiralling. It’s clear there’s a big budget behind this show, and they use it well.
Whilst there are really impressive qualities to the production (the cast and the set in particular), overall I struggled to stay engaged. It’s a quite a long show, but it feels even longer. The plot becomes frustrating at times and some of the songs are perhaps more protracted than they need be to drive the story forward. The messages behind the show still feel relevant, but perhaps a bit of polish and updating would go a long way to keeping it vibrant and relatable into its next decade.
Music and lyrics by Benj Pasek and Justin Paul
Book by Steven Levenson
Direction by Adam Penford
Musical direction by Michael Bradley
Choreography by Carrie-Anne Ingrouille
Dear Evan Hansen plays at New Wimbledon Theatre until Saturday 29 March. It tours the UK until Saturday 5 July.
