Dear Evan Hansen UK Tour

📸Marc Brenner

Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him.

Let’s start with the direction by Adam Penford, which feels a bit like it’s having an identity crisis. There are undeniably lovely moments – little sparks of genius where the story truly connects – but they’re undercut by scenes that feel awkward or tonally off. And the pacing in Act 1? Glacial. I’m pretty sure I aged a year during “For Forever.” The lack of momentum made it easy to disengage, which is a shame given how effective the material can be when it’s working.

Thankfully, Carrie-Anne Ingrouille’s choreography injects life back into the piece. Her movement feels organic, modern, and refreshingly dynamic. It’s not just window dressing – it enhances both the songs and the transitions, making those tricky scene changes far more bearable. It’s rare to be excited about choreography in a show that’s not exactly dance-heavy, but this was a real highlight.

The lighting design by Matt Daw is another win – colourful and expressive when needed, then beautifully restrained for the quieter moments. There’s a lovely attention to emotional rhythm, complemented perfectly by the sleek video design from Morgan Large and Ravi Deepres. The visual storytelling is subtle but effective, like the soft sun motif when Evan sings “step out of the sun” in You Will Be Found. Those touches elevate the experience without drawing focus away from the story.

📸Marc Brenner

Morgan Large also delivers a clever and thoughtful set design. It provides more texture and detail than the original production, making the world feel more immersive. The orchard is particularly gorgeous. There are also some clever nods to the original staging, which longtime fans will appreciate. That said, the frosted windows didn’t quite land for me—they looked a bit like someone attacked Perspex with a birthday candle. This is a minor gripe in an otherwise strong visual world. Large makes bold choices, costume-wise. The removal of the iconic blue-striped polo was always going to ruffle some feathers (yes, I missed it too), but the updated outfits bring the characters closer to “real people” territory. Bright, youthful, and grounded, the costumes help sell the emotional realism of the show.

However, Tom Marshall's sound design left me scratching my head. In louder songs, the vocals soared, crystal clear and intimate. But the band all but disappeared during some of the smaller numbers (So Big / So Small, for example). I was struggling to hear the music at all. And then suddenly, during a scene change, BOOM – they’re back a bit louder. It felt like someone was toggling between two presets. And when the songs went up a gear, the music didn’t follow, leading to parts of the show falling flat. A shame, because the score deserves more consistency.

Speaking of which, the music and lyrics by Benj Pasek and Justin Paul remain as powerful and poignant as ever. Songs like Requiem, Words Fail, and You Will Be Found are beautifully crafted and emotionally precise. And that intimacy still resonates so strongly. Steven Levenson’s book continues to be the emotional spine of the show. It's funny, flawed, and deeply human, handling grief, guilt, and connection with impressive sensitivity. It never loses sight of the characters’ humanity, which allows the audience to see themselves in these messy, imperfect people.

📸Marc Brenner

As for the cast, Ryan Kopel’s Evan brings a grounded, child-like energy that makes the character feel more relatable than ever. He plays Evan with childlike sincerity, avoiding over-sentimentality in favour of something more honest, which pays off. His vocals are strong and emotionally charged, especially in Words Fail, where his performance is as vulnerable as it is controlled. Lauren Conroy as Zoe Murphy is a standout. Her stripped-back, emotionally raw portrayal allows Zoe’s arc to shine in a way I haven’t seen before. She deeply connects with the material, making the character feel more dimensional than the love interest.

Alice Fearn’s performance as Heidi Hansen is a powerhouse of vocals and genuine emotional weight. Her performance in So Big/So Small was heart-wrenching—it’s a shame she didn’t have more stage time. Every second she’s on is packed with pathos and strength. Tom Dickerson and Vivian Panka (as Jared and Alana) provide much-needed levity and presence. Dickerson’s comedic timing is razor-sharp (his lines land every time), while Panka brings infectious energy and a satisfying emotional progression.

A beautifully simple idea ties all these performances together: they play the characters like real people, not exaggerated archetypes or over-polished musical theatre tropes. Just humans—flawed, hurting, trying. And that authenticity ultimately makes the show land, even when some of the production choices don’t. This new UK tour of Dear Evan Hansen doesn’t always hit the mark, but it packs a serious emotional punch when it does. The direction and sound design could use a rethink, and Act 1 could benefit from a caffeine boost. And some parts fall flat. But the show's performances, visuals, and underlying heart still shine through. It’s not perfect – but then again, neither is Evan. And maybe that’s the point?

Dear Evan Hansen is still on tour, so look and see if this production is coming to a venue near you: https://www.evanontour.com