‘Dear Evan Hansen’ National Tour @ Winspear (ATTPAC)
—Rickey Wax
Dear Evan Hansen isn't just a musical; it's a chilling reflection of our digital age, where authenticity is often sacrificed at the altar of online personas. And this past weekend, thanks to ATTPAC’s “Broadway at the Center” series, the musical’s Crossroads Live National Tour made a three-day stop at the Winspear Opera House for quick-thinking local fans.
Dear Evan Hansen was written by the award-winning team of Benj Pasek and Justin Paul, who composed the music and lyrics, and Steven Levenson, who crafted the book. Pasek and Paul are known for their ability to blend contemporary musical styles with deeply emotional storytelling, while Levenson’s script provides a nuanced exploration of mental health, grief, and the complexities of human connection. (You may want to leave the younger kiddos at home). Together, their collaboration resulted in a groundbreaking musical that earned critical acclaim and won six Tony Awards, including Best Musical in 2017.
The show opens with a stark image: a single bed, testament to Evan's isolation. Evan Hansen, played with aching vulnerability by Michael Fabisch, types away at an assignment from his therapist—a letter to himself that begins with the now-famous phrase, “Dear Evan Hansen.” The stage is still, the air heavy with the awkwardness of a young man consumed by anxiety. From that first moment, Fabisch’s Evan draws us in with his trembling voice, nervous gestures, and the heartbreaking earnestness of a teenager desperate to belong. Fabisch is extraordinary as the titular character, balancing the role’s conflicting elements with nuance. Evan is a liar, a manipulator, and at times deeply unlikable. But Fabisch’s performance ensures that Evan’s yearning and pain remain relatable, even when his actions become indefensible.
His overworked and emotionally frayed mother (Bre Cade) encourages Evan to make connections at school despite his evident discomfort. As Heidi Hansen, Cade delivers one of the most heartfelt performances of the evening. Her rendition of “So Big/So Small” captures the universal struggle of a parent trying to do their best with the limited tools they have. At school, Evan crosses paths with Connor Murphy (Alex Pharo), a volatile classmate with a troubled reputation. After an awkward interaction, Connor mockingly signs Evan’s arm cast in large letters. Shortly afterward, Connor finds and takes one of Evan’s letters—intended for therapy—that mentions Evan’s ongoing crush on classmate Zoe (Hatty Ryan King), Connor’s sister.
Afraid of the letter getting into Zoe’s hands, Evan goes to the Murphy home to retrieve it and is told that Connor has taken his own life—and that his parents have already discovered Evan’s letter among their son’s belongings. Mistaking it for a suicide note addressed to Evan, the Murphys believe the boys were close friends. They reach out to Evan, desperate for comfort and connection. Overwhelmed and unable to explain the truth, Evan fabricates a friendship with Connor, inventing shared memories to comfort the grieving family.
Jared (Gabriel Nunag), a sarcastic family friend, helps Evan forge emails between himself and Connor to make the friendship seem real. Alana Beck (Makena Jackson), an ambitious and overzealous classmate, spearheads “The Connor Project,” a social media campaign to keep Connor’s memory alive. Evan reluctantly becomes the project’s figurehead, delivering a heartfelt speech at a school assembly that goes viral.
In the new age of social media, digging yourself out of a hole this large is no easy feat. Evan must now try to keep up with this charade, balancing the pressures of being a teenager with the ever-growing weight of his deception — all the while hiding it from his mom. He’s now left with a tangled web that will prove most difficult to untangle.
Technically, this touring production is as innovative as it is emotionally charged. In particular, designer Peter Nigrini’s projections are nothing short of mesmerizing, transforming the stage into a swirling sea of social media posts, text messages, and news headlines. These visuals not only immerse the audience in the digital world of today’s teenagers but also serve as a metaphor for Evan’s own spiraling lies. Nigrini’s projections are especially effective during moments when characters use laptops, seamlessly blending the physical and digital worlds.
The show’s central metaphor, an orchard that’s restored and replanted as a symbol of life and renewal, carries significant emotional weight. It’s a hopeful image that suggests second chances are possible: it’s never too late to plant new seeds and start fresh. This is musical theater at its most complex and important: a story that both moves and challenges us all, performed by a cast at the top of their game. We’ll hope it returns soon!
WHEN: December 19-21, 2024
WHERE: Winspear Opera House, Dallas
WEB: attpac.org for upcoming shows and concerts