The West End production of ‘Dear Evan Hansen’ was one of the biggest casualties of the pandemic, forced to close 6 months into its run and then unable to gain back its momentum after its eventual re-opening, despite 3 Olivier wins (a mis-judged film adaptation released around the same time probably didn’t help either). Its fate is somewhat ironic, given the themes of isolation and longing for connection that run so deeply throughout the show, themes which were heightened during those Covid times. Fortunately, the musical has found a new lease of life with a well-received touring production which kicked off in Nottingham in September 2024. Now 6 months in, the tour has connected strongly with audiences, and rekindled the fire that burned all too briefly in the West End.
The show introduces us to the titular Evan Hansen (played by Ryan Kopel), a socially-awkward teen who suffers from depression and anxiety. Evan is tasked by his therapist to write himself a daily letter, affirming that “today’s going to be a good day, and here’s why”. When one such letter ends up in the hands of the troubled Connor Murphy (Killian Thomas Lefevre), Evan finds himself in the middle of a significant misunderstanding with Connor’s parents (Helen Anker and Richard Hurst). As the well-intentioned charade intensifies, Evan finds himself drawn closer to Connor’s sister Zoe (Lauren Conroy), and estranged from his overworked mother Heidi (Alice Fearn), as his insecurities and fears begin to spiral out of control.
‘Dear Evan Hansen’ was never an easy sell to audiences, being a young man’s struggle with his mental health in the middle of a family rocked by grief and loss, but that’s what makes it such an incredibly powerful piece of theatre. Anyone who’s ever felt alone or cut-off from the world will empathise with Evan and connect with him so strongly, and while no-one could condone his actions, they will absolutely understand them. Steven Levenson’s inciteful book goes to great lengths to show us Evan’s layers and reveal why he does what he does; he’s not some cruel manipulator who plays the Murphys to get what he wants, he’s a desperate people-pleaser who craves a life he’s always felt detached from and takes a silly lie too far. The story could absolutely use a stronger epilogue though, one that really shows Evan trying to make up for his actions (something the movie adaptation gets right).
American composers Benj Pasek and Justin Paul have faced criticism that their compositions are too pop-influenced (although that is probably why ‘The Greatest Showman’ dominated the 2017 charts in the way it did), but for ‘Dear Evan Hansen’ this approach absolutely works. Immediately accessible and ranging from the simple and beautiful (“Requiem”, “So Big/So Small”) to the rousing and anthemic (“You Will Be Found”, “Disappear”), it’s a fantastic score that gives us melodic hooks and character insights in equal measure, with only a handful of mis-steps (“To Break In a Glove” probably wouldn’t be missed).
The production feels very suited to tour, and director Adam Penford has stripped back some of the flashiness of the original London production to create a more intimate animal, and it works well; this was never a “big” show, it was about story and character, and Penford’s version draws the focus in and keeps it where it should be. That said, it still looks great; striking lighting design by Matt Daw and excellent video design by Ravi Deeprees blend seamlessly with Morgan Large’s slick set design to create a cohesive whole, and one that enhances the story rather than detracting from it.
As tough roles for male performers go, Evan Hansen is undeniably one of the toughest, being on-stage for most of the show with few breaks, and requiring incredible acting skills to really deliver Evan’s journey. Ryan Kopel has really settled into the role during the course of the tour and continues to do exceptional work here, finding new touches to add to his portrayal and making Evan’s most misguided moments completely relatable. Kopel fully embodies the fragility, nervousness, awkwardness, and ultimately desolation that makes Evan such a layered character, and it’s an extraordinary performance. Lauren Conroy also continues to put in a powerful performance too as the embittered Zoe, still burned by Connor’s past treatment of her. Conroy brims with simmering fury and understated fire, and she plays it beautifully. Alice Fearn is also doing great work here, showing her strength as an actress, and her chemistry with Kopel has blossomed into something truly touching as the tour has progressed.
‘Dear Evan Hansen’ is one of the most powerful and important musicals to emerge from the genre in recent years, and as an exploration of grief and mental health, it is essential viewing. It gets under your skin and rewards repeated viewings, retaining its powerful impact every time. Like the complicated young man of its title, the show has its flaws, but it makes the audience feel something, and remains a richly rewarding experience. As the show says, “There’s a place where we don’t have to feel unknown / And every time that you call out, you’re a little less alone”, which is almost a metaphor for theatre itself, and it’s this sense of connection and belonging that make ‘Dear Evan Hansen’ a hugely special show.
‘Dear Evan Hansen’ runs at Wolverhampton Grand Theatre until Saturday 5th April 2025, before continuing on its UK tour until early July 2025.
To book at Wolverhampton Grand Theatre – https://www.grandtheatre.co.uk/whats-on/dear-evan-hansen/
Remaining UK tour venues and dates – https://www.evanontour.com/#book-tickets
Reviewed By: Rob Bartley
Reviewed: 1st April 2025
North West End UK Rating:
Rating: 5 out of 5.
Performance runtime 2 hours 40 minutes including interval.
Cast note – Ryan Kopel is scheduled to play the role of Evan Hansen at evening performances only. Sonny Monaghan is scheduled to play the role at matinee performances.