Most theatregoers know the story of Dear Evan Hansen, as it was a tremendous success on Broadway for six years in a row and was also a film and a book. I saw the film in 2021 during Covid, which made the topic even more poignant, especially as teenagers and students around the world were still in lockdown-isolated from their peers, college students far away from their parents and siblings, and many having depression.

At the 71st Tony Awards, the show was nominated for nine awards, winning six, including Best Musical, Best Book, Best Score, Best Actor for Ben Platt, and Best Featured Actress for Rachel Bay Jones.

The musical follows Evan Hansen, a high school senior with deep insecurities, anxiety speaking with strangers, and depression whose social anxiety leads him into a fantasy world where he invents a story about a non-existent friendship with a drug addicted Connor Murphy whose suicide gets him deeper and deeper into an entanglement with the deceased student’s parents, their daughter Zoe, who Evan pines for, his mother Heidi, who is overly attached to her son without giving him space to grow out of his “condition” and into a full-fledged human being. Two acquaintances are brought into Evan’s ruse from school, both opportunistic for different reasons. Flynn for gaining attention on social media and friendships not yet made, and Jared for money, “anything for a side hustle”.

The extremely talented cast of the Zach performance includes:

Vocally, the ensemble is exceptional. The harmonies are tight, the range impressive, and the emotional delivery consistently grounded. The cast’s musical talent was a rare confluence of vocal harmonies. After a while, I had hoped for more musical variety, but that was not the intention of the original director. Through repetitiveness in style and a limited number of songs, I got bored. Just because they sang a number three times didn’t make the message stick or increase my attraction. This approach diluted the message.

Directed by Producing Artistic Director Dave Steakley with musical direction by Allen Robertson, Dear Evan Hansen runs through May 17, 2026 at The Topfer at Zach Theatre. For tickets https://www.zachtheater.org/tickets/pdps/dear-evan-hansen/

photos by AxelB Photography

Lead photo: Connor (l) and Evan

second photo: Evan with the Murphy family

By Elise Krentzel

Elise Krentzel is an author, bestselling memoirist, narrative nonfiction writer, ghostwriter, and narrative IP architect whose work explores the intersection of place, identity, culture, history, and lived experience. She is the author of Rogue Entrepreneur: Building a Life the World Didn’t Have a Name For and Under My Skin: Drama, Trauma & Rock ’n’ Roll, a bestselling memoir. Her forthcoming Hydra: The Human Atlas launches a new body of work examining how place shapes who we are, what we remember, and how we transform. A former Tokyo Bureau Chief for Billboard Magazine, Krentzel spent more than two decades living and working internationally, including five years in Japan, and has reported on music, art, culture, food, travel, and the people and places that shape them. Today, she works selectively with authors, leaders, and other high-level professionals on books and narrative projects, bringing editorial rigor, lived global perspective, and a deep understanding of story architecture to work intended for serious publication and potential adaptation across film, television, and other media. She is also the founder of the Human Atlas Institute, an emerging cultural initiative built around conversation across difference and the exploration of geography, identity, culture, history, and beauty as forces that shape human experience. Krentzel's home base is in Austin, Texas, with one foot in France, and continues to write, travel, research, and develop new books and cultural projects. Find her at https://elisekrentzel.com, LinkedIn at www.linkedin.com/in/elisekrentzel. Facebook www.facebook.com/OfficiallyElise Instagram www.instagram.com/elisekrentzel.