A Lively and Beautiful Production Eased the Gobsmacking, Reflection-Provoking Story.
Hello dear reader! If you have been here for a while, you know how my ADD brain works, through the lens of my messy but fun review style. And if you’re stopping by for the first time, welcome! And I hope you enjoy the ride!
Because my theatre journey began with Broadway touring shows over sixteen years ago (my dear God), when I have the chance to see a regional production of a musical, I usually give my two cents by diving into my journey with the piece and going from there. In the case of Dear Evan Hansen, I am ecstatic to report that I had never seen it, and Cygnet’s production was my first time 🙂. Seeing this show brought back a few feelings because, when the first Broadway tour of Dear Evan Hansen started around 2019, I took a brief hiatus for health reasons. So coming back to it now makes my heart pump.
It is not clear where this story is set, but it is in a suburban American town. Evan Hansen (Aiden Meyndert) is a high school senior who lives with his very busy, overworked mom, Heidi (Bethany Slomka). The new school year has started, and Evan’s therapist has tasked him with writing letters to himself for day-to-day encouragement. Even though he is skeptical about the activity, Evan plows through and tends to reach out to family friend Jared Kleinman (Danny Holmes), a soft, bully-ish type who constantly mocks him. At school, Evan gets ready for his therapy session while Connor Murphy (Tyler Martinez), an aggressive outcast student, seizes Evan’s letter and doesn’t understand why his sister, Zoe (Nio Russell), is in it. Unhinged, he takes the letter, which will change everyone’s path, including his own.
With music and lyrics by Benj Pasek and Justin Paul, and a book by Steven Levenson, Cygnet’s production was directed by Blake McCarty, who I consider ideal to guide this piece with such a powerful story. Nicholas Ponting’s set created a digitally charged environment with different-sized screens that displayed social media interactions like reels and lives across different channels, courtesy of Sierra’s projection design, which captured how kids view the world today. Part of Theresa Maigue Bendorf‘s choreography involved the cast walking around while looking at their phones, having the bright light reflect off their faces. I want to take this moment to acknowledge that this is how various audience members also look while staring at their phones during a performance. (Sadly, my husband included).
The musical deals with heavy, emotional topics, and Caroline Andrew’s lighting with Ginger Chody’s sound were crucial in telling the story, beautifully setting each challenging moment softly and aesthetically.
Dear Evan Hansen feels made for today’s audiences, balancing dialogue and song. The musical interventions are brief and nicely woven into the dialogue. I appreciated the creative dynamic, with memorable, felt songs like Requiem, Disappear, and So Big/So Small, with musical direction by Patrick Marion; the cast and ensemble performed amazing vocals with on-point delivery and interpretation.
I enjoy many aspects of being a theatre critic, including witnessing an actor’s stage journey. From OTC’s production of Next to Normal in 2024 to the world premiere of Dead Moose this year, Danny Holmes has grown histrionically, absolutely owning Jared while comically delivering punny lines, nicely accessorized with Grace Wong’s costumes, which strategically included several T-shirts with different catchy phrases or fun emojis.
Wong’s selections fit each character, with fun dresses, cool pants, and charged denim, plus accessories for Connor, majestically played by Tyler Martinez, who brought pain-driven intensity, sprinkled with sarcastic humor, to a moving, shattering performance. Nio Russell conveyed the complexity of Zoe’s mixed feelings while growing up in that household, along with the normal growing pains of that age. Tash Gomez was charming and endearing as the mythomaniac Alana, as well as performing beautiful musical notes.
Aiden Meyndert as Evan is the axis of the story, as everything stems from the letter he writes and how the aftermath is treated. Meyndert brings the musicality, rendition, and interaction with the cast, carrying a strong rhythm and strong vocals.
Bethany Slomka proves once again what an absolute stage force she is. From the intention to the song interpretation, her work was powerful. The Murphy parents, Larry and Cynthia, played by David Humphrey and Sydney Joyner, also gave touching scenes that embodied the different emotions prompted by everything that was happening, as Steven Levenson, in his writing, captured accurately the various struggles in marriage, parenting as a single parent, privilege, money, and the lack thereof. After seeing Humphrey as Ben in last year’s Follies, I truly appreciated his portrayal of a grieving, repentant father. I also enjoyed a different performative layer from Joyner, as I have seen her in various musical productions, and her puzzled, mourning Cynthia was beautiful.
Every company, school, and setting everywhere should have a Mental Health Consultant. For this production, it was Dacara Seward, and I am looking forward to seeing this role more often.
Cygnet, following its signature style, created an artistic, fine version of this musical that is well worth it. Not to be missed.
Currently playing until October 11.
Other cast members include: Shannon Gerrity, Kailyn Leilani, Nathan Nonhof, and Aya Sherian.
Peter Herman handled makeup and wigs.
Laura Zingle is the Stage Manager, with Assistant Stage Manager Ali Flores.
Karina Ortega is the Production Assistant; Kandace Crystal is the Intimacy Consultant; and Katy Dawson is the Assistant Director/Assistant Choreographer.
Production images by Karli Cadel.
