Dear Evan Hansen — Page 4

I still don't see this show coming in this season though. I feel like they will wait next season when it is less crowded. We already have Hamilton, and then of course School of Rock, Waitress, Tuck Everlasting, American Psycho which have had a lot of good buzz in their out of town tryout. Not to mention Allegiance and Shuffle Along lurking around the corner and possibly The Bandstand and Bright Star looking to come in this season (probably in Nederlander houses). If they really have something, they should wait til next season.

The NY Times review is up: http://mobile.nytimes.com/2015/08/04/theater/review-in-dear-evan-hansen-teenage-angst-grows-complicated.html?_r=1&referrer=

Here is our review on DCMetroTheaterArts (which was the second review that was posted) and John Stoltenberg's 'A Love Letter to Evan Hansen':

DCMetroTheaterArts Review of Dear Evan Hansen

A Love Letter to Evan Hansen by John Stoltenberg on DCMTA

Here is the cast.

LAURA DREYFUSS (Zoe) is so happy to return to D.C. in this beautiful production. She was previously seen at the Kennedy Center in Hair (first national tour and Broadway). Other New York credits include Once (Broadway) and the New York Theater Workshop production of What's it all About? (Off-Broadway). She was most recently seen on television as Madison McCarthy in the sixth and final season of Glee. She received her BFA in theater from The Boston Conservatory.

MIKE FAIST (Connor/Dance Captain) is originally from Columbus, Ohio and moved to New York when he was 17 to pursue acting. Mike made his Broadway debut in Newsies as an original cast member — he created the role of Morris Delancey for the regional premiere and continued through the Broadway transfer. This winter he starred Off-Broadway opposite Taylor Schilling and Peter Dinklage in A Month in the Country at Classic Stage Company (dir. Erica Schmidt). Other theater credits include Appropriate (Signature Theatre Company, dir. Liesl Tommy), A Wind in the Willows and Christmas (Two Rivers Theater, dir. Daniella Topol). Films include Mania Days (dir. Paul Dalio, prod. Spike Lee), Lake City (dir. Aaron Fisher-Cohen), the upcoming indie License Plates (dir. Marc Lucas) and The Grief of Others (dir. Patrick Wang), which recently premiered at SXSW and will be having its international premiere in L’ACID program in the Cannes Film Festival later this month.

RACHEL BAY JONES (Heidi)’s Broadway credits include Pippin (Catherine), Hair (Mother, Buddhadalirama) and Women on the Verge of a Nervous Breakdown (u/s Lucia). Off-Broadway credits include Hello Again (the Actress) with Transport Group. National tour of A Christmas Story, The Musical (Mother). Regional credits include Sylvia (Sylvia) and The King and I (Anna), among others. She has also appeared on the television show Louie and has a solo album, entitled ShowFolk. By day, Rachel is the mother to a 12-year old girl.

ALEXIS MOLNAR (Alana) is thrilled to be a part of bringing Dear Evan Hansen to D.C. Theater credits include Off-Broadway’s Harbor by Chad Beguelin (Lottie) at 59E59 Theater; Pack of Lies (Julie) and Harbor (Lottie, winner of Connecticut Critics Circle Award for Outstanding Performance) at Westport Playhouse and The Seagull (Masha) at Pace. Television credits include Comedy Central’s Boyfriendz, SNL w/ Paul Rudd and The Next Big Thing on Oxygen TV. Film credits include Outliving Emily with Olympia Dukakis, Sharknado 2 and Admissions. Live performances at 54Below, Joe’s Pub, Le Poisson Rouge and Laurie Beechman. Training at Pace MT, RADA London and Second City Chicago, BAA. Thanks/love: Mom, Dad, Trapper, Christian, Clancy and Dave/SGM. alexismolnar.com @alexiskaymolnar

MICHAEL PARK (Larry)’s recent stage credits include Tuck Everlasting at Alliance Theatre. Broadway credits include Cat on a Hot Tin Roof (Gooper), How to Succeed in Business Without Really Trying (Mr. Bratt), Carousel (Billy), Smokey Joe’s Café (original cast) and Little Me (Lucky). Off-Broadway credits include Threepenny Opera (ATC), Hello Again (Lincoln Center), Violet, The Burnt Part Boys (Playwrights Horizons), Bloomer Girl, Applause (City Center Encores!) and Middletown (Vineyard Theatre). Michael is best known for his work as Jack Snyder on As the World Turns, for which he received two consecutive Emmy Awards for Outstanding Lead Actor in a Drama Series. He recently appeared on NBC’s television broadcast of Peter Pan Live. Other recent noteworthy television appearances include NBC’s presentation of The Sound of Music Live! and arcs on Netflix’s House of Cards as well as Chicago PD for NBC.

BEN PLATT (Evan) is best known for starring as Benji Applebaum in Universal Pictures' smash hit Pitch Perfect and will reprise his role in Pitch Perfect 2 to be released in May. This summer, Platt can be seen alongside Meryl Streep in the film Ricki and the Flash. He most recently made his Broadway debut as Elder Cunningham in The Book of Mormon, for which The New York Times called his performance “sensational.” Platt first took on the role to critical acclaim in the show’s Chicago run in 2012, earning him a Broadway World Chicago Award for Best Actor in a Touring Production. This past fall, Platt sold out his first solo cabaret show at 54 Below. National tour credits include Caroline, or Change (directed by George C. Wolfe and Tony Kushner). Regional credits include The Black Suits (Barrington Stage Company), The Power of Duff (New York Stage and Film, Stephen Belber), Dead End (directed by Nicholas Martin, Ahmanson Theatre), The Music Man, Mame, Camelot and The Sound of Music (Hollywood Bowl, directed by Gordon Hunt). Workshops/readings of Breaking Bobby Stone (directed by Peter Scolari), Murder at the Gates (directed by Peter Dubois, Steven Sater), Alice By Heart (Steven Sater and Duncan Sheik), Irma La Douce (directed by Rob Ashford, starring Katie Holmes) and Bridges of Madison County (directed by Bartlett Sher, Jason Robert Brown).

WILL ROLAND (Jared) is a Brooklyn-based actor/singer/human. Recent credits include The Black Suits at Center Theatre Group and Barrington Stage Company, The Bus at 59E59, Billy Witch with Studio42 and The Joe Iconis Christmas Spectacular. Will is passionate about new work, having helped develop work through 2nd Stage, La Jolla and Arena Stage, as well as NYMF, various Fringe festivals and bunches of concerts. Will is a Studio 42 resident artist and board member (stu42.com) and Musical Theatre Factory founding member (musicaltheatrefactory.org). Thanks Mom, Dad, Val, Station3, Judy Boals and my many teachers for their support throughout this crazy endeavor.
www.will-roland.com

JENNIFER LAURA THOMPSON (Cynthia) makes her Arena Stage debut. Broadway credits include Nice Work If You Can Get It (Eileen Evergreen); Lend Me a Tenor (Diana); Urinetown (Hope Cladwell for which she received a Tony nomination); Footloose (Ariel Moore, original cast) and Wicked (Glinda, first replacement). Off-Broadway credits include Company (filmed for PBS: Live from Lincoln Center). She has had the pleasure of doing several Encores! productions at New York City Center and has sung with symphonies across the country and Europe. TV/film credits include Law & Order: SVU, Person of Interest, Company and Construction. She graduated from University of Michigan with a BFA in musical theater.

Enjoy. You're in for a treat.

P.S. For those still hoping to see it but cannot make the trip down, this will be coming to New York in 2016.

Today, I saw Dear Evan Hansen and I'm so glad that I did. Michael Grief, Pasek, Paul, and the cast have created this exceptional and unique musical. My friends and I were sitting in the 2nd row of the Orchestra thanks to Arena Stage's Pay-Your-Age program. Thus, we were in clear view of the actors and David Korin's simple, yet beautiful set with the projections. I won't get into much of the story because it is better to go in not knowing the plot and the plot is spoiler filled.

Now, to the actors. Ben Platt is turning in an emotional rollercoaster of a performance. He breaks your heart and is incredibly funny at the same time. His voice blends incredibly well with Pasek and Paul's score. Platt makes you care about Evan that makes what happens to him hurt even more. Laura Dreyfuss is such an exceptional actress. The subtlety of her performance is what astounded me. Plus, she has a gorgeous voice. Michael Park was solid and I enjoyed him thoroughly. Rachel Bay Jones was just terrific. She doesn't have much to do until Act 2, but it's completely worth it. Her Act 2 solo was so heartbreaking, yet beautiful. A guy in front of my friends and I was audibly and visibly crying. I was on the verge of tears as well. In addition, Jennifer Laura Thompson doesn't have a lot to do vocally throughout the piece, but it is her acting that surprised me the most. It's so hard to put into words her performance because it is so visual. Mike Faist, Alexis Molnar, and Will Roland round out the cast and enjoyed all three.

Admittedly, I didn't know Pasek and Paul's music. I knew Dogfight vaguely and I knew that they had written some songs for Smash. However, I was blown away by their score. Each song had a purpose and each song moved the story along. I would definitely by a cast recording if there was one available.

As far as negatives, I do feel some things were rushed in Act 2. I also felt that Ben's and Michael's duet could be rewritten, if it needed to be. Now, if the show did transfer to Broadway, it would definitely have to be placed in a small theater. The intimacy of the story is another thing that makes it succeed. Plus, it would need a small theater to sell well.

In the end, I highly enjoyed this musical and truly a special piece of work.

It would fit in so well at Second Stage, but I can't really envision it for Broadway either.

Was there a survey in the programs tonight? I finally got to fill one out at yesterday's matinee. I thought it was interesting the Finale was the only song missing from the "pick your 3 favorite songs" question. (Granted, there's not much music there, but it was listed on the song list inserts previously.) I commented on NY to one of the cast and they already alluded to forthcoming changes. Can't wait.

promisespromises2 said: "No, we did not receive a survey in our program.

"

I got one in mine.

I finally saw it last week. People who liked Next to Normal will probably like it.

It could stand to lose about 1/4 of the songs, as well as the subplot about Evan not being able to afford college. It's a lot of back and forth and time wasted for very little plot development. They could find another excuse for his mom to get upset and sing her solo.

I despise projections. I found them to be more distracting than effective and spent more time trying to read the pretend posts than focusing on the actors. The show isn't really about social media really, so it felt really unnecessary to have the entire scenic design based around that motif.

Alana reciting what would be about a 1000-character tweet bugged me. I know, it's just a set-up for a "please retweet" punchline, but it doesn't make sense so much that it stuck out like a sore thumb to me.

As others have mentioned, way too white. No offense to the actors, I don't wish for anyone to lose a job, but really. Even if they don't want to colorblind cast the families, there's no reason Alana needs to be white, and the 3 Jewish jokes from Jared aren't so hilarious that he needs to be either. I just find it hard to believe in this day and age, a[n all-white male] creative team can claim they cast a wide, diverse net and the absolute best people for the jobs based on talent alone all happened to be white.

Updated On: 8/25/15 at 12:06 AM

Saw DEH during previews and also saw the August 23rd matinee. This is such a special little show. I don't really have anything to say that hasn't already been said, but I think anybody who can should make plans to see it when it opens at Second Stage next year.

Social media is also how most of the Evan/Jared and Evan/Alana moments occur, and I liked how the projections used the boxed in motif to close in around Evan in "Good For You." They did restructure some of the moments since previews when I did feel like (mostly Alana) they were more disruptive.

Of course the characters use social media, I'm not suggesting they cut that out (minus the 1000-character tweet), but the projections were over the top to the point of distraction. The backdrop doesn't need to be constantly shifting Facebook posts and chat windows the entire show just because they have occasional moments of social media use.

"as is the subplot of the Hansens being of a lower socioeconomic class than the Murphys."

They can acknowledge the Hansens are in a lower socioeconomic class than the Murphys, I have no problem with that biographic content, but the scene with the mom storming out of the Murphys' house over the college fund offer felt very inauthentic. Someone in her position wouldn't have let the Murphys know she was embarrassed and offended by their offer in such a dramatic manner. To me, it came across as "We need an excuse for her to confront Evan so she can sing this song" and not as an authentic character moment.

Liza's Headband- what exactly was I in the extreme minority about? The all-white cast? My personal opinion on projections? My suggestion that people who liked popular Pulitzer Prize-winning musical Next to Normal will probably like it? "Most audience members" can feel free to love it. I thought some minor aspects need tweaking.