REVIEWED BY DIANE DE BEER

Stuart Brown as Evan Hansen

DEAR EVAN HANSEN

MUSIC AND LYRICS BY: Benj Pasek and Justin Paul

BOOK: Steven Levenson

CAST: Stuart Brown, Léa Blerk, Charlie Bouguenon, Keely Crocker. Kent Jeycocke, Shelley Lothian, Ntshikeng Matooane, Arno Meyer, Sharon Spiegel Wagner, Michael Stray, Justin Swartz, Lucy Tops

SET AND LIGHTING: Niall Griffin

MUSICAL SUPERVISOR: Charl Johan Lingenvelder

CHOREOGRAPHER: Louisa Talbot

SOUND DESIGNER: David Classen

RESIDENT DIRECTOR: Shelley Lothian

DIRECTOR: Greg Karvellas

Producers: Showtime Management and How Now Productions

VENUE: Montecasino Teatro

DATES: Until 13 April

PICTURES: Daniel Manners

Charlie Bouguenon (Charlie Murphy), Stuart Brown (Evan Hansen),Sharon Spiegel Wagner (Cynthia Murphy) and Keely Crocker (Zoe murphy).

WHAT struck me instantly while watching this musical was that being young a few decades ago was much easier.

No social media, less scrutiny, much less peer pressure because it had to be done person to person rather than through technical means or phones  – it was just a much simpler and less stressful life.

What young adults have to contend with at that vulnerable age when you start transitioning into adulthood is quite monstrous. One would think that the huge physical upheaval would be enough to deal with, but now there’s so much more.

It’s a musical with an intimate if weighty story as it deals with depression and hiding from the world at a time when you should reach out rather than go into hibernation, yet it has huge heart.

It’s not often that musicals deal with  mental health issues especially targeting teen and young adult audiences, who are particularly vulnerable. These aren’t issues readily discussed and this offers an amazing opportunity to ignite sensitive conversations.

Griffin, who is known for his ingenious designs, has hit the brief spectacularly. It’s all high-tech and could be quite alienating and overwhelming but also allows for the cast to flow in and out of the grand and gleaming structure (above) quite seamlessly.

It also allows the high tech environment we live in to dominate and underlines the world we cannot escape – even if that is exactly what Evan Hansen is trying to do.

That is the genius of the musical. It all feels quite overwhelming, almost as though you have to fight your way to the heart of the story, yet this is where the magic lies. At that centre is a timid and rather terrified young boy who can hardly get out from under the covers.

His way of communicating is to write letters to himself, hence the Dear Evan Hansen title. Many people, young and old, could identify at some stage in their lives with his struggle of dealing with life. His is the universal struggle to be seen.

His mother, a single parent, is so stretched to keep them afloat that she hardly notices her son or witnesses any of his anguish. He feels he has no one to turn to until an incident allows him to find a different persona and a family to hook onto.

This particular production has been gifted the perfect package in Stuart Brown, who engages with the audience and embraces his persona in the title role of Evan Hansen. The way he commands the stage and fills the auditorium with an emotional sensitivity that’s quite astonishing in such a huge space is extraordinary.

There’s nothing showy or superfluous in his approach to the role, he simply is Evan Hansen, which draws even those few souls  –  including myself  –  who don’t instinctively engage into the angst-ridden universe of a teenager whose whole being is fearful of the outside world.

Justin Swartz (Jared Kleinman), Keely Crocker (Zoe Murphy) and Stuart Brown (Evan Hansen) in conversation.

That and the music written by an experienced team of songwriters, Benj Pasek and Justin Paul, who are best known for their Oscar, Grammy and Tony-winning work on La La Land, The Greatest Showman and now this, each of which spawned albums that landed in the Top 10 on the Billboard 200. That’s hard to beat and you could pick up from the audience that many of them knew the music and the lyrics, which would really add to a fuller experience.

There really isn’t much to fault in this production guided by the genius musical instincts of Karvellas supported by Lingenvelder’s music know-how, with a marvellously clever ensemble cast, all with voices that carry the music, it is a story well told.

It’s not just teens but also families that would benefit from the show. Communication, real person-to-person contact and, in this instance parents and children, is the other issue that is explored. These are not traditional topics for musicals and that is what makes this one so intriguing.

It also one of the finest shows to target the teen audience. At their most susceptible to be groomed as future theatre fans, this one ticks all the boxes. There’s a hero who explores and explodes, a story that ventures into almost forbidden territory and a production that unfolds beautifully with many different characters who find what they are looking for, a variety of issues to mine, and for those who want a softer landing, a story of romance.

But more than anything, there’s the glorious music and the explosive performances by an exciting ensemble who push the energy with joyful enthusiasm. You simply have to let go and engage.