First it took Broadway by storm, then captivated the West End, but after a disappointing movie version, the curtain finally came down on Dear Evan Hansen. That is, until this new touring production of the Olivier, Tony, and Grammy award-winning musical set off across the UK. It’s the first non-replica production ever to be staged, and there was a nervousness amongst fans that it may stray too far from the original (as the film did), but thankfully the small changes that have been made actually enhance this beautifully poignant musical.
Dear Evan Hansen, directed by Adam Penford, which is currently playing at the New Wimbledon Theatre brings a fresh perspective to the story, captivating audiences with its powerful narrative and memorable score by Benj Pasek and Justin Paul.
The story revolves around Evan Hansen, a socially anxious teenager whose life becomes intertwined with that of a deceased classmate, Connor Murphy. Ryan Kopel delivers a superb performance as Evan, masterfully capturing the character’s vulnerability and inner turmoil. Kopel’s vocals are particularly strong, and his portrayal is both heart-wrenching and relatable, making it easy for the audience to empathise with his struggles.
The supporting cast, including the fantastic Lauren Conroy as Zoe Murphy and Alice Fearn as Heidi Hansen, adds depth to the narrative, highlighting the intricate dynamics within the Hansen and Murphy families. Killian Thomas Lefevre grips as Connor and Vivian Panka is a wonderful Alana.
The iconic blue striped polo is gone from this production, replaced with a bigger variety of costumes from Morgan Large who is also responsible for set design. Here, the screens so prominent in the original productions are used far less, instead, large mirrors and frosted glass windows better symbolise the themes of the show.
Also added are an ensemble, probably more for the practical reasons of touring, but this bigger cast does help make Evan’s world feel more realistically populated, as do their movements as Carrie-Anne Ingrouille’s choreography adds a sense of fluidity to the transitions between scenes.
The ensemble, comprising Sonny Monaghan, Lara Beth-Sas, Daniel Forrester, Jessica Lim, Will Forgrave, and Olivia-Faith Kamau, provides a strong foundation for the musical numbers, blending seamlessly into the background while supporting the lead performances. As an aside, I was lucky enough to see Will Forgrave step into the role of Evan at an earlier tour venue, and it was one of the best Evan performances I’ve seen.
Dear Evan Hansen has always had to take a thoughtful approach to sensitive themes. Some may debate how well it actually achieves this, with some critics preferring to view Evan as the villain of the piece. The musical tackles mental health, grief, and the consequences of deception with sensitivity, yet it does not shy away from the harsh realities. The script by Steven Levenson balances these heavy themes with moments of humour, mainly in Evan’s awkward interactions, but also in some musical numbers, like “Sincerely, Me,” which serves as a necessary respite, allowing the audience to breathe before diving back into the emotional depths of the story.
The use of lighting and sound, crafted by Matt Daw and Tom Marshall respectively, enhances the emotional impact of key moments, particularly in the poignant “So Big / So Small,” where Heidi’s longing for connection with her son is beautifully underscored.
Fans of Dear Evan Hansen will not be disappointed by this touring production and its stunning performances, which under Adam Penford’s direction feels like a natural evolution; building on the success of the original and at the same time unlocking something new for audiences.
