“‘Dear Evan Hansen’ remains an important musical because of the originality of its thought, the strength of its score, and its ability to hit such a chord with audiences,” writes Tribune critic ChrisJonesTrib.
Anthony Norman, John Hemphill, Lili Thomas and Alaina Anderson in the touring musical"Dear Evan Hansen" at the Nederlander Theatre in Chicago.It’s a good question and one that spooled through my mind as I saw the well-known musical, charting the fevered goings-on at a high school, for the fourth time. On the one hand, much of the social media shown in the show already feels very 2016, given how fast that culture has changed.
For me, at least, “Dear Evan Hansen” remains an important American musical because of the originality of its thought, the strength of its score by Benj Pasek and Justin Paul and, frankly, its ability to hit such a chord with audiences without telling the story of a pop star or adapting some long-popular movie. Musicals built from whole cloth, as the writer Steven Levenson crafted this one, remain rare. And hit ones are even rarer.
You’re still seeing the original production, of course, and not some cut back, non-union tour . I’ll venture this is probably the last opportunity to catch the show, if you’ve never had the pleasure, before it finds its way out into local productions. Whether high schools will have the courage to stage the piece remains to be seen; there are pitfalls.from Anthony Norman
, who deftly walks that crucial line between empathetic vulnerability and, well, teen myopia. On the night I saw the show, we saw a lovely piece of work from the Zoe understudy, Valeria Ceballos, who mastered both the character’s skepticism and her vulnerability. But the performance of the night here is from the superb Coleen Sexton, who plays Evan Hansen’s mom and who absolutely nails the most moving number in the show, that being the one where she sings, “Your mom isn’t going anywhere. Your mom is staying right here.”Where: Nederlander Theatre, 24 W. Randolph St.
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