Review: DEAR EVAN HANSEN at Theatre Raleigh

When Dear Evan Hansen premiered on Broadway in 2016, it quickly became one of the defining musicals of its generation, winning six Tony Awards, including Best Musical. A decade later, its themes of loneliness, social media, and the desire for connection feel just as relevant, if not more so. Theatre Raleigh’s production embraces those ideas while delivering a heartfelt and emotionally engaging evening led by a remarkably strong cast.

The story follows Evan Hansen, a socially anxious high school student who becomes entangled in a lie after a tragic misunderstanding involving classmate Connor Murphy. What begins as an attempt to comfort a grieving family quickly spirals into something much larger, forcing Evan to confront questions of honesty, belonging, and who he wants to be.

One of the production’s greatest strengths is its visual presentation. Scenic Designer Kevin Judge and Projection Designer Darby E. Madewell have created a clean, modern environment that feels perfectly suited to the show’s relationship with technology and social media. Vertical columns double as screens, displaying text messages, videos, and social feeds while also projecting various set elements to establish the scene. Jessica Boevers Bogart’s direction keeps the production moving at a brisk pace while finding creative ways to elevate the material. “Waving Through a Window” and “You Will Be Found” are particular standouts, with cell phones becoming extensions of the characters themselves as the light of the screens literally cut through the darkness around them. I’m always a sucker for good “light choreography,” and these sequences were some of the production’s strongest visual moments.

Social media functions as another character in the story. When Dear Evan Hansen premiered, its depiction of online virality felt like commentary. Now, it simply feels like reality. Students scroll endlessly, search for validation through likes and shares, and process major events through their screens, with their phones serving as their gateway to the world. The production smartly updates many of those references, with TikTok replacing older platforms as the dominant social space and small details, like One Piece’s Luffy appearing as a character’s chat icon, helping the show feel rooted firmly in the present.

Jason Thomas Clyde takes on one of the most demanding roles in modern musical theatre as the titular Evan Hansen. Rarely leaving the stage, Clyde approaches the role with sincerity and strong physical characterization, capturing Evan’s awkwardness, anxiety, and desperation without turning him into a caricature. The role requires an actor capable of carrying the audience through nearly every moment of the story, and Clyde proves more than capable of shouldering that responsibility.

JT Snow is a standout as Jared Kleinman, bringing much-needed comic relief and charisma throughout the evening. Snow has excellent timing and a natural Stage Presence that consistently earns some of the show’s biggest laughs. The stage truly comes alive during “Sincerely Me”, one of the production’s strongest numbers. Snow, Clyde, and Mitchell Treg Brown fully commit to the song’s absurdity and infectious energy, creating a moment that feels like a welcome release amid some of the heavier material. Brown also makes a strong impression as Connor Murphy. While Connor’s role is relatively limited by the structure of the book, Brown makes the most of every moment he is given, bringing a strong vocal performance and a presence that lingers even when the character is offstage.

The Murphy family delivers some of the evening’s most powerful moments. Isabella Denissen’s Zoe Murphy is a standout throughout, her vocals bringing warmth and vulnerability to the role. Jenny Latimer and Will Ray are incredibly strong as Cynthia and Larry Murphy, navigating the complicated realities of grief with honesty and restraint. The trio’s performance of “Requiem” is one of the musical highlights, beautifully capturing three very different responses to loss within the same family.

Catherine Brunell delivers a touching performance as Heidi Hansen. Her relationship with Evan serves as one of the show’s strongest emotional anchors, culminating in a heartfelt rendition of “So Big / So Small.” Casting deserves a particular shoutout, not only for the immense talent assembled onstage, but for bringing together performers who genuinely look and feel like families.

The high school ensemble deserves immense recognition as well, being completely composed of young performers either in high school, college, or having recently graduated. Their collective energy brings authenticity and life to the production, helping create a believable world around Evan. I found myself wanting more time with them, a testament to the strength of the performers, and Lauren Kennedy Brady and Eric Woodall's commitment to supporting the next generation of theatre artists.

Musically, the score remains the show’s secret weapon. Music Director Beth G. Tankersley leads a strong orchestra that brings Pasek and Paul’s music to life while keeping the focus squarely on the performers. Whatever reservations I may have about aspects of the book, Pasek and Paul’s music consistently pulls me back in. “You Will Be Found” in particular serves as a powerful Act One finale, and you could feel the audience become completely locked in, mirroring the virtual audience within the story itself. There were plenty of laughs throughout the night, but also audible gasps, particularly as Act Two unfolded and Evan’s increasingly tangled web of lies became harder to maintain.

The production’s biggest challenges ultimately stem not from Theatre Raleigh’s execution, but from the material itself. Dear Evan Hansen remains emotionally effective, but its treatment of suicide and the deception at the center of the story feels more complicated today than it did when the musical premiered. We never truly get to know Connor before he is gone, leaving both the characters and the audience trying to make sense of someone they barely understood in life.

Even so, Theatre Raleigh’s production never loses sight of the humanity at the center of the story. The cast approaches the material with sincerity, compassion, and remarkable talent, while inventive staging and strong direction help bring Pasek and Paul’s memorable score to life. Dear Evan Hansen may not be a perfect musical, but this is an outstanding production of it. By the final bow, it is impossible not to feel the impact of the work Theatre Raleigh has put onstage.

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