REVIEW: Dear Evan Hansen at Sunderland Empire

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

Dear Evan Hansen

Sunderland Empire

Tuesday 19 to Saturday 23 November 2024

Book by Steven Levenson

Music and Lyrics by Benj Pasek and Justin Paul

This hugely popular musical has so much going for it as it lands on Wearside this week for the first time. It has hope, compassion and a strong sense of humanity. But it is more than that, as it has a Hitchcock-vibe of redemption. 

Dear Evan Hansen is a musical follows Evan Hansen, a high school senior with social anxiety, "who invents an important role for himself in a tragedy that he did not earn".

They said "Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him."

The thing is, it was an interesting feeling at the interval. An uplifting song finished act one but the audience knows at this point that there is more afoot than the characters know. You go into the interval wondering how it will unravel. The feeling of a possible Hitchcock twist makes you want to go back for Act 2.

Evan Hansen (Ryan Kopel) is about to start his final year at school before heading, possibly, to college. He struggles in social situations. For example, he does want to order a take away delivery as that will involve small talk with delivery person as they sort out the change.

His mother Heidi (Alice Fearn) is juggling a full time job with classes in order to change her career and hopefully bring more money in. The downside is she is rarely at home. Recognising the issues Evan has, she sends him for therapy. The therapist suggests, as homework, Evan writes positive letters to himself - Positive affirmations that will help his mental wellbeing.

He is printing one such message off at school when Connor (Killian Thomas Lefevre) picks it up off the printer. Connor, who has family issues himself, spots that the letter refers to his sister Zoe (Lauren Conroy) and he decides to walk off with it. Thus a chain of events is now going to take place changing a lot of people's lives.

There is a lot to praise this show, no wonder it has won so many awards. The set (Morgan Large) and lighting (Matt Daw) has an ability to combine and support the songs in a really effective way.

The original songs are memorable, unlike some new musicals. But the really clever part of the design is in the sound (Tom Marshall). The quiet moments of the show, including the quiet songs, are particularly quiet. This boosts the louder songs by introducing a bigger dynamic range than is often the case. It is nice to hear live strings in the mix too rather than just keyboards.

Another noticeable moment was during Evan's mother's final song So Big/So Small. As it was quiet you could hear quiet emotional sobbing around the circle. Sniffles of appreciation - this musical had hit an empathy spot in audience which is rare.

Great performances all around lift this show and it is easy to see how it has built up a following not dissimilar to Blood Brothers in loyalty. This includes Helen Anker and Richard Hurst as Connor and Zoe's parents Cynthia and Larry. Ryan Kopel is masterful in such a difficult role - how do you have commanding stage presence when playing a character that is supposed to have a lack of such?

The is a powerful portrayal of teens and some of their issues. The fear of not being noticed in a digital age. Yet it manages this without sentimentality. Review: Stephen Oliver

Note: The show includes the issues of suicide which can be upsetting.

Tickets:

Tickets are on sale now at https://tinyurl.com/SunderlandDearEvanHansen*