If you were born in this new century and nestle within the demographic that favours “Glee” “Big Bang Theory” then “Dear Evan Hansen” seems designed just for you. For those of us outside that very slim group it remains an anomaly. The show itself has an undoubted pedigree having opened on Broadway in 2016 with music and lyrics by Benji Pasek and Justin Paul (whose credits include the glorious “The Greatest Showman” and the awful sounding “Tom and Jerry: Back to Oz”) with a book by Steven Levenson, produced by Marc Platt and starring Ben Platt – note the shared surname making lesser critics wonder if that nepo-element may go some way to explain the show’s weaknesses, but, hey, it won nine Tony Awards! The show has toured endlessly, had a long West End, a badly received film – and people love it.
Storming through the lead role tonight was Ryan Kopel who has a faint whiff of eighties comic, Emo Philips, about him and delivered a thoroughly assured, endearing and likeable performance despite being lumbered (and here’s the bugbear) with a character who delivers some morally suspect behaviour when he fakes a litany of emails inventing a friendship with a character who has just committed suicide. Herein after we’re meant to indulge the little scamp and laugh along with his japes while simultaneously being expected to empathise with the grieving family he’s hurting – not an easy balance to pull off. Luckily, Ryan is such an engaging performer he manages to transcend the show’s flaws with ease. Alice Fearn gives a delightedly centered and controlled performance as his mother and Lauren Conroy, Helen Anker, Richard Hurst, Tom Dickerson, Killian Thomas Lefevre and Vivian Panka all deliver solid and individually carved performances all of which support and enhance the show.
The sound was truly outstanding to the point of not realising there was an amplification at all, which is a compliment to the design team.
Yes, I know I’m not the target demographic, but I couldn’t quite get on board with the woes of a privileged, white kid making suspect mortal decisions on which the entire plot hung. But despite my grumpy reservations it got a standing ovation and will doubtless do so for the remaining of its run at the Alex. But Adam Penford’s deft and seamless direction coupled with some neat ideas from the brilliant Carrie-Anne Ingrouille make for a diverting and, yes, entertaining evening.
Reviewer: Peter Kinnock
Reviewed: 22nd October 2024
North West End UK Rating: