Even when the dark comes crashing through
When you need a friend to carry you
And when you’re broken on the ground
You will be found
“Worth the wait” is a cliché but very relevant in the case of 2016 Broadway hit Dear Evan Hansen, winner of six Tony Awards including Best Musical, Best Book (Steven Levenson), and Best Score (Benj Pasek and Justin Paul). Had the show premiered in Australia closer to the Broadway season, the very simple original staging may have been seen rather than this sparkling new Australian production. The passage of time has also helped to erase memories of the lamentable 2021 movie adaptation.
A very welcome “non-replica” production, the Australian tour of Dear Evan Hansen is an all-new staging that originated at Sydney Theatre Company in September, co-produced by the Michael Cassel Group.
The all-too-rare completely original Broadway musical, Dear Evan Hansen sees fragile teen Evan Hansen spend his time “Waving Through A Window,” interacting with the world through his phone rather than engaging in person. Levenson, Pasek, and Paul successfully balance the line between examining the phenomenon of viral social media sensations and actually providing heartfelt inspiration. Many a theatregoer will be genuinely moved by the act one finale message “You Will Be Found.”
Follow his counsellor’s advice, Evan types positive daily “Dear Evan Hansen…” letters, one of which is swiped by depressed schoolmate Connor Murphy and is later viewed by Connor’s parents as a suicide note. Not correcting the parents, Evan’s lie of omission spirals all the way to a moving finale that is tearful, yet ultimately uplifting, in its message of optimism and hope.
Book writer Levenson focuses on a tight group of eight characters, including Evan’s hard working single mother, Heidi. Pasek and Paul give each their own I wish song, with Heidi asking “Anybody Have a Map?” before Evan’s “Waving Through A Window.” The pair each has their own 11 o’clock number, with Evan finally coming clean, as best he can, with “Words Fail” and Heidi breaking even the hardest hearts with “So Big/So Small.”
Lovingly produced and featuring sensitive, insightful direction by Dean Bryant, Dear Evan Hansen is seen in its best possible light, performed by a crack ensemble cast in peak form. Bryant elicits nuanced, finely calibrated emotional performances from the cast, the pathos all the more moving for the compete of absence of histrionics.
Engagement with the characters and story is greatly boosted by early humour, with the email workshop number “Sincerely Me” a clear comic highlight. Sharp, perky choreography by movement director Shannon Burns adds to the upbeat vibrancy.
On keyboard, music director Zara Stanton leads eight fellow musicians in a bright, lively performance of Pasek and Paul’s pop-influenced, light rock score. Music supervisor Laura Tipoki works with Stanton to deliver an effortless air to the instrumental music and vocal harmonies. Sound design by Andrew Poppleton balances vocals and instrumentals to clarion perfection.
Jeremy Allen’s streamlined set design facilitates swift, cinematic transitions and allow unfettered focus on the central story. The clean white unit for the Murphy home conveys their sense of style with neat efficiency. Matt Scott’s lighting frames the stage with crisp, understated glamour. Generous use of warm colour subtly enhances emotion.
The stage really comes to life in sequences that showcase David Bergman’s pristine video projections. A sense of fluid, ever expanding social influence is deftly conveyed, along with the clear concept that people in the online spotlight appear larger than life.
Isabel Hudson’s costumes are natural and comfortable with a theatrical characterful edge.
The role of Evan Hansen is a challenging one to cast in that the actor needs to look youthful but also draw upon profound emotional depth, all while singing like a pop angel. Possessing invaluable musical theatre experience as a child performer, Beau Woodbridge steps up to the role with poise and flair. Sweetly comic, Woodbridge gamely embraces Evan’s awkwardness and anxiety, and his performance of Evan’s breakdown will surely continue to grow ever stronger as the tour continues. In a deceptively effortless performance of the challenging score, Woodbridge’s high notes ring out with resounding power.
Immersed in the role of frazzled single mother Heidi, Verity Hunt-Ballard gives an understated performance all the more touching for the sheer humanity of a very readily identifiable character.
Her Cynthia Murphy the living embodiment of a raw nerve, Natalie O’Donnell brings infinite sensitivity and vulnerability to a woman struggling to deal with every mother’s worst nightmare, Fellow stage veteran Martin Crewes deftly captures the crumbling stiff upper lip of man’s man Larry Murphy, clearly showing an undercurrent of tenderness just below the surface of the grieving father’s stoicism.
In a highly auspicious professional stage debut, Georgia Laga’aia gives struggling teen Zoe Murphy a sturdy backbone, also singing the role with rich vocal beauty. Harry Targett convinces as darkly brooding teen Connor Murphy, busting out some slick dance moves and bringing a cheeky twinkle to the character’s eye when he appears in dream scenes.
Jacob Rosario is perfectly cast as Evan’s friend family friend Jared, bringing much needed humour to offset the more poignant scenes. Carmel Rodrigues delights as determined do-gooder Alana, balancing the quirky humour of the role with a suggestion of darker self-serving motives.
As pristine a production of Dear Evan Hansen as could be hoped to see, hopefully Santa will reward a great many of Melbourne’s legion musical theatre lovers with tickets.
Dear Evan Hansen plays at Playhouse, Arts Centre Melbourne until 16 February 2025. For tickets, click here.
Dear Evan Hansen plays at Canberra Theatre Centre from 27 February 2025. For tickets, click here.
Dear Evan Hansen plays at Her Majesty’s Theatre, Adelaide from 3 April 2025. For tickets, click here.
Photos: Daniel Boud