Dear Evan Hansen Will be Found at the Ordway

Michael Fabisch Photo by Evan Zimmerman for MurphyMade

Dear Evan Hansen is the show you may know as the suicide musical. That is a fair description but it is also an extremely limiting one that doesn’t embrace the other aspects of the show. The show centers around the suicide of a troubled teenager named Connor Murphy, but what it explores is the need we all have for connection. The show doesn’t put its focus on Connor, the suicide happens off screen, he’s a character we see very little of before the suicide, and we are never told how or why it occurs. The focus is on the living and, through a misunderstanding, something positive can come of tragedy. That misunderstanding directly relates to the title of the musical. The main character Evan Hansen is inscructed to write himself a letter of positive reinforcements by his therapist. That letter his taken by Conner and is found on his body. His parents mistakenly assume that Connor is the author of the letter and that their friendless son was actually friends with the equally friendless Evan. Unable to correct the error and seeing the comfort it gives his parents, Evan creates a series of fake email exchange between himself and Connor that creates a fictitious friendship between the two. What starts as a well intentioned deception, snowballs into Evan who is raised by a single mother that works full time while also attending night school, becoming a surrogate son to the Murphy’s. This also brings Connor into close and frequent contact with Connor’s sister Zoe, whom he has a crush on. Eventually Evan and two fellow classmates, Jared and Alana create The Connor Project to shine a spotlight on Connor. The message Evan conveys in the song “You Will Be Found” with the lyrics:

You are not alone Even when the dark comes crashing through And you need someone to carry you When you’re broken on the ground You will be found
Lyrics by Benj Pasek & Justin Paul

What the show does extremely well is capture the reality of being a teenager and a parent in our time. What parent can’t relate to the sentiments expressed in the first song “Anybody Have a Map?“

Another Stellar Conversation for the scrapbook Another stumble as I’m reaching for the right thing to say I’m kinda coming up empty, can’t find my way to you Does anybody have a map? Anybody maybe happen to know how the hell to do this?
Lyrics by Benj Pasek & Justin Paul

It does a great job as well of allowing us to empathize with Evan’s actions. We know they are wrong and cannot end well. But the character of Evan is so well crafted that by the time when get to the initial misunderstanding, we know his character well enough to understand what he’s needing in his life, what his problems are, and what his desires are. The show portrays the incidents in a way that we fully understand how and why the character of Evan, young and fragile as he is, makes the choices he makes. When he feels like it needs to be ended another reward appears and lures him deeper into the lie.

In this production, the second that I’ve seen not including the disasteriously cast film version, I was extremely impressed with the younger members of the cast playing the teenagers. Michael Fabisch is excellent as Evan Hansen with a voice that seems perfectly suited for the range in which the characters songs are written. He is very engaging while also conveying the characters awkwardness and anxieties. Hatty Ryan King as Zoe also sounds great really shining on the songs “Requiem” and in the duet with Evan “Only Us”. Makena Jackson as Alana and Gabriel Vernon Nunag as Jared also capture their characters really well. Both bringing personalities that create moments of humor in their accurate portrayals of recognizable young high school types, both their positive and negative qualities. It’s the young cast that really stands out in this production.

The set design by David Korins which consists of a few tableaus that roll on and off the stage as needed, like a dining room table or Evan’s bedroom is simple but effective. The primary design element though is the projections designed by Peter Nigrini which are cast upon large screen panels staggered throughout the stage. On it, we see social media and texting messages which reminds us of the ways in which today’s teenagers have grown up with this technology. Its constant presence on stage reflects its role in their lives and in a show about alienated and disconnected youth it’s presence is a clue as to why that is. Interestingly, it’s also the conduit by which Evans message that you are not alone goes viral. Steven Levenson’s book for the show wisely shows us the dangers of the technology while also understanding that realistically it isn’t going to go away and so we need to use it positively as well.

Dear Evan Hansen is a very good musical with a lot of standout songs and a positive message. This is dark subject matter but the authors have found the appropriate level of humor to create an entertaining and rewarding night of musical theater. Dear Evan Hansen runs through March 16th at the Ordway Center for Performing Arts in St. Paul. For more information and to purchase tickets go to https://ordway.org/events/dear-evan-hansen/

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Grease is the Joyous Final Word of Michael Brindisi at Chanhassen Dinner Theatres

Kasano Mwanza (Teen Angel) Katemarie Andrews (Frenchie) Ensemble Photo by Dan Norman 2025

Grease is a musical I’ve seemingly known all my life. I saw the famous film adaptation in the theater at age six, and watched it constantly on cable and VHS over the next decade. I was even in my high school production as a member of the ensemble. Grease and a healthy dose of being my father’s son contributed to my love of the sounds of the 1950’s and 60’s. Grease in the original nostalgia musical, on the surface it’s a love story between Danny and Sandy but it’s really a love story between the audience and the 1950’s. This isn’t Shakespeare in fact if I wasn’t so familiar with the plot I might be confused as to whether there really is a love story between Danny and Sandy. But you know what? That doesn’t matter, it’s all just an excuse to perform a bunch of 1950’s song pastiches. You had me at 1950’s songs. Grease is pure fun distilled into a idealized version of a simpler time. It’s the escapist entertainment that we all need right now. Do yourself a favor and take a trip to the past for a rockin’ good time.

Grease is jam packed with great songs, a couple of which are favorites that never made it to the film “Freddy My Love”, which I still find myself singing from time to time and “Mooning” which gets a great performance in this production. It also wisely imports three of the songs that were unique to the film version “Hopelessly Devoted to You“, “You’re the One That I Want“, and “Grease is the Word“. The latter is used as an encore after the cast has taken their bows and features Kasano Mwanza who plays Teen Angel. When asked who was their favorite, everyone in the theater would likely say Kasano Mwanza. His performance Of “Beauty School Dropout” is the showstopper! Mwanza holds the entire theater captive to his entrancing voice and magnetic stage presence. Always amazes me when five years in, I’m still coming across talents like this that have been around “but I never heard them singing” (The Music Man was another childhood favorite). The entire cast is solid, Sam Stoll makes a great Danny, but isn’t quite matched by Dayle Theisen’s Sandy. There are some real standouts in the Pink Ladies and the Burger Palace Boys. Anna Hashizume is spectacular in the role of Rizzo, she steals the spotlight in every scene she’s in, She plays Rizzo with a tough exterior taking no crap from anyone, making her vulnerability during “There Are Worse Things I could Do“, all the more effecting. She also has one of the best voices in the company. The last actor I want to single out is Evan Tyler Wilson, not just because he’s a magnificent singer and his performance as Roger, particularly in “Mooning” is a lot of fun. But also because my wife would kill me if I didn’t, she loooooves him!

As always the case at Chanhassen, the band sounds great under the direction of Andy Kust. Nayna Ramey’s set design feels like a 50’s inspired animation background and set the tone for this trip down memory lane. They even have a working Greased Lightning car that drives on and off stage a few times. Sue Ellen Berger’s lighting design deserves a shout out as there are several queues that help focus the audience where they need to be looking when there is a stage full of activity. Rich Hamson’s costumes perfectly represent the time period without solely relying of the standard jeans, white t-shirt, and leather jacket. His Teen Angel outfit is fantastic and works beautifully with the choruses pink outfits. Highest praise goes to Tamara Kangas Erickson’s choreography. Wow moments occur throughout, but especially during “Greased Lightnin“, “We Go Together“, and “Born to Hand-Jive“. Including a nice variation on the traditional kickline.

It wouldn’t feel right to end my review without noting the untimely loss of longtime Chanhassen Dinner Theatres Artistic Director and co-owner Michael Brindisi who passed away suddenly on February 5th. I had the honor to conduct a talkback with Michael and members of the cast after a production of The Prom in 2023. It was, and will always be a highlight of my life as a Theater Blogger. Before a production either of Jersey Boys or Beautiful, I stopped by Michaels table and we reminicesed about that event and I was touched to hear that it was a special memory for him as well. Michael has left us one final gift with his direction of Grease. It was a show that meant a lot to him, and that comes through in the pure fun and joy of this production. Michael didn’t know this would be his last show, but it seems like an appropriate bookend to his long and influental career. You’d be hard pressed to find anyone who’s been in the Twin Cities Theater Community for long who hasn’t felt the impact of Michael Brindisi. To many of us, Michael was synonymous with Chanhassen Dinner Theatres. Michael is gone, but his presence will be felt for years to come in the continued work at CDT and in the performances of the artists he directed and cheered for.

Grease runs through October fourth at Chanhassen Dinner Theatres. For more information and to purchase tickets go to https://chanhassendt.com/grease/

Rent is an Emotional and Transporting Experience Not to be Missed at Artistry in Bloomington

Rent Is one of my favorite musicals. I’ve seen touring productions countless times, I’ve seen it done by colleges and community theater companies, I’ve seen it done in the suburbs with the whitest cast you can imagine. The last time I reviewed the show I said when you’ve seen a show as often as I have Rent, you have to let go of your preconceived notions of what characters should look like, from costumes to hairstyles, what the set should look like and how every lyric in every song should be sung. The joy of going to a favorite show is seeing how a new group of artists will approach it. Obviously, you don’t want them to sing different songs or deviate from the characters essence. But when you know something so well and can let go of some standard set by an original cast recording you’ve memorized, you notice the small changes, and rather than being frustrated by them, they become the moments that make each production unique and engaging. I love Rent and I loved Artistry’s production of Rent. I loved it so much I want to go again, but mad at all the other theater companies in town who have filled my schedule so that I can’t go again. The only date I have available is my wedding anniversary, and I’m pretty sure my wife wants to do something we don’t do every other night of the week for our tenth anniversary. I know I’ll get over it, and I know by the time I hit the Twin Cities Horror Festival I won’t be holding a grudge.

I was going to say that if you are not familiar with Rent that it is patterned off of Puccini’s Opera La Boheme. Then I realized who hasn’t heard of Rent but knows La Boheme? Yes, I’m sure there is someone out there but my guess is they are not reading this review. Essentially it’s the story of a group of friends, artists living in New York’s East Village during the late 80’s early 90’s half of whom have contracted HIV. It contains a message of love and friendship played out among characters that suffer from all the human traits that hold us back, greed, addiction, jealousy, self doubt, isolation. It reminds us there is no day but today. In it’s emotional finale the characters sing the fundamental lesson that the musical is trying to impart to its audience “There’s only us. There’s only this. Forget regret or life is yours to miss.” I can’t think of a truer or more important message and that I suspect is why it won the 1996 Pulitzer Prize for Drama. If you are not aware of the story of Jonathan Larson who wrote the Music, Lyrics, and Book for Rent I highly recommend purchasing the film version of Rent to watch the Documentary No Day But Today which is included as a special feature, it’s a heartbreaking story.

This production is Directed by Kelli Foster Warder with energy and confidence, making subtle changes like I believe cutting a portion of the song “Contact” which worked for me. Warder also choreographed the show along with Joey Miller and they did an exceptional job. The moves that Michelle de Joya as Mimi performs while singing “Out Tonight” are an example of their creativity and de Joya’s skill. In terms of staging the Actors and the use of set pieces Warder does an excellent of staying true to the simple and scaffold like design of the original Broadway run, while also changing things up and doing her own thing, putting her stamp on the show while keeping the feel and look we expect. The Broadway costumes are iconic and the reality is that regional theaters need to find their own look for the characters to some extent which they do here. The only misstep costume wise for me was the choice for Mark’s shirt, a horizontal striped pullover collared affair that shouts mathlete rather than NYC Bohemian filmmaker. It’s an odd and glaring oversight that you can see in the photo above. There is the usual solid work from Music Director Jason Hansen and his band which are tight and perfectly balanced with the vocals.

I really can’t praise the cast enough, some are stronger vocalists and others stronger in the acting department but everyone plays to their strengths. de Joya’s Mimi is a little flat occasionally when it comes to the singing with things pushed out of her ideal range, but it’s not a huge concern because when it’s in her sweet spot she kills it, and her performance and physicality are among the strongest in the cast. Mitchell Douglas, hot off a nice turn in drag in Kinky Boots at Lyric Arts, plays Angel with some dance moves that elicit gasps and admiration. The best singers in the cast are Caleb Michael who plays Roger, Quinn Lorez who plays Joanne, and Em Rosenberg who is an ensemble member but when they get their few moments to be heard outside the group songs, Rosenberg reminds us what a fantastic singing voice they have. Matthew Hall also impresses as Collins with a rich voice that straddles the deep and mid register nicely. Both Wesley Mouri who plays Mark and Ninchai Nok-Chiclana who plays Benny are better in the acting than in singing departments, though they are both capable singers, their strengths lie in the former. Maureen is played by Sara Masterson and we believe her when she says there will always be women in rubber flirting with her.

Ultimately what the show did, what it always does, is evoke an emotional response from deep within me. Every time I see the show I’m transported in my soul back to the time I first saw it, before I was old. It reminds me of a more passionate age, when I could see myself as one of them, maybe not a Roger, I was never that cool, but maybe Mark. When I see it, when I hear these characters pouring out their hearts in these songs, I feel young. Every production offers something new, but the one thing they always remind me is that, if there is a production of Rent happening, go. Never, ever miss an opportunity to see a production of this show. Rent runs through October 27th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/rent