‘Dear Evan Hansen’ review
‘a masterpiece that delivers on every promise it makes; it is nothing short of a feat of excellence’
Tone Deaf Theatre Company’s Dear Evan Hansen is a masterpiece that delivers on every promise it makes; it is nothing short of a feat of excellence. The narrative follows Evan Hansen, who gets entangled with the Murphy family when they find their son Connor has a letter addressed to him after he takes his own life. This musical is a huge undertaking – requiring a careful balance of comedic moments with the deeply moving explorations of human connection – yet TDTC handles this with effortless dignity.
The level of talent in a TDTC production is always immensely high, and this reputation is proudly upheld. Despite the cast numbering only eight, the ensemble never feels empty, not least in vocals, which are able to hold their own against the powerful performance of the band. The musical direction of Ilan Miller and Ben Armitage is incredibly apparent in the richness of harmonies, and the strength of every vocal performance throughout what is an incredibly demanding show.
The challenge of vocal parts could not go without exceptional praise of Ollie Painter’s Evan Hansen. Painter has firmly established himself as a star of Durham Student Theatre this year, but his performance here is perhaps his strongest yet. The complexity he brings to his portrayal of Evan’s anxiety, which can easily become a gimmick without the care given by Painter, brings so much heart to the entire musical. Leading any show is no small feat, least of all with the vocal demands of a role like Evan, yet Painter seems entirely unfazed and should particularly be celebrated for his performance of ‘Words Fail’, playing with dynamics and vocal breaks to create one of the most incredible performances I have had the pleasure of seeing.
Opposite him, Jobe Hart’s Connor Murphy effortlessly manipulates a stillness that starkly contrasts Evan’s more erratic movements. Often placed on the balcony as a pervasive onlooker, Hart exhibits a subtle yet compelling shift from the “real” Connor Murphy to the idealised version Evan has invented. Indeed, the entire Murphy family exists as an impactful unit, each giving incredibly earnest portrayals of grief. Eve Pearce’s Zoe stands out with the powerful message of ‘Requiem’ – whether we must grieve someone, regardless of the pain they have caused – as her characterisation throughout the show contains an integrity that speaks volumes to her strength as a performer. Alongside this, India Vivian’s Cynthia and Leon Perry-Masey’s Larry both consider the aspect of denial with distinct clarity; Vivian remains utterly sincere, allowing Evan and Cynthia’s relationship to beautifully develop, as Perry-Masey’s breakdown of stoicism between the two acts exceptionally highlights the poignant aspects of Larry that are easily neglected.
However, the complex family relationships of the musical are exemplified so clearly by Lucy Rogers’ portrayal of Heidi Hansen, who displays an exceptional complexity of intention. Rogers effortlessly moves from the forced optimism of ‘Anybody Have a Map’, to the deep, visceral anger of ‘Good For You’ before ending with such a raw rendition of ‘So Big/So Small’ that truly lets her vocal prowess shine.
Within these heavy themes, it’s easy to forget how much comedy exists within the show, which gets greatly carried by Louis Williams’ (Jared Kleinman) and Maiwa Banda’s (Alana Beck) impeccable comedic timing. Banda totally controls the stage and makes perfect use of pacing in speech to emphasise Alana’s over-enthusiasm. Williams takes similar charge of the space, though less due to his character’s nature than the magnetic energy he himself brings to every scene, hitting each sarcastic response with expert precision. Both performers are integral to rounding out the quality of this cast.
As always, this show would not be possible without the indispensable work of the production team, headed by Production Managers Alex McCalmont and Evie Collins. The integration of multi-media is particularly notable, with projectors focused around the auditorium displaying not only the emails but also pre-filmed sequences of the cast, depicting Evan’s falsified narrative. Led by Videographer Cassia Thurston, the work of the film and edit crew brings such a depth to Evan’s betrayal, by visibly presenting the fabrications that the Murphys are told to the audience.
The implementation of these owes much to the set design of Rory Collins and Theo Henman. In isolation, the set remains almost entirely devoid of colour, as the stage is washed in white. However, this turns every surface into a potential screen for projections when manipulated by both the stage crew (led by Stage Manager Grace Mathews) and cast, physically surrounding the actors in more introspective moments.
Yet despite the plain colouring of the set, the stage never feels devoid of life; instead, colour is added through the stunning lighting design of Jonathan Wilson-Downs. Though the design is true to a typical Wilson-Downs work, with appreciation owed to his implementation of unique lighting tricks, what stands out most is how carefully considered each state is to blend closely with the lines they are cued to. Deputy Stage Manager Thea Jupe should be celebrated here for the precise timing throughout the show – not only with the lights but particularly for the sound department (headed by Oliver Fitzgerald). Each cue perfectly hits its beat, with the sound design integrating seamlessly into the multi-media elements to create a spectacular display of tech without a single disruption to flow.
Every individual who has worked on this production should be immensely proud of their achievements, and recognition should be given to the organisation of Company Managers Carlos Davies and George Murray, as well as to the beautiful marketing created by Producer Nicola Ho. But ultimately, the entire production is a testament to the work of its directors: Estelle Pollard-Cox and Lauren Williams. At no point is this trying to be any prior version of Dear Evan Hansen; the creative vision shines through in every beat, with a quality that far exceeds the usual standard of student theatre.
By Molly Winchurst.