Dear Evan Hansen
by John Stoltenberg
Dear Dear Evan Hansen,
I know it might sound odd, but this is a love letter to a musical.
I saw you for the first time in my life last night, and I knew right away I had to write you to tell you it was love at first sight. You moved me, you thrilled me, you out and out wowed me. (Gosh, I hope you will not think me weird for gushing.)
You’re a musical about a lonely and depressed high school senior named Evan Hansen who writes letters to himself to cheer himself up—which is why you’re called Dear Evan Hansen (duh). What happened last night, though, was that you cheered me up. I remember when we finally had to part, I left you where you’re staying at Arena Stage (I assume that’s temporary and you’ll be relocating to Broadway, where I hope we can meet up again, because I really want to stay in touch). As I walked out into the summer night, I found I could not shake the feeling of elation you had given me. So I figured you might understand why I felt compelled to publicly declare my passion for you this way.
I haven’t yet read what any of your other admirers may be saying about you. I can only imagine they were similarly smitten. (How could they not be?) But I hope you will take to heart this letter to you, because there’s something really important and personal I want to share with you.
And it’s this, dear Dear Evan Hansen.
Until I met you I had never in my life seen a musical I would call redemptive. I don’t mean redemptive in any divine sense, because you never mentioned faith. I mean in the very human sense of revealing to us a very identifiable inner self that feels so isolated and unworthy it will pretend to be someone else for acceptance. (You nailed it: Everyone’s got Imposter Syndrome. We’ve all been there done that.) And then you showed that self be caught in a Really Big Lie and stricken with recrimination.
You presented a central character, Evan, whose dramatic character arc is actually a profound trajectory of conscience—who despite his good intentions in deceiving others comes to realize that he has totally, totally screwed up. The deception he committed was so wrong he cannot stand himself. And by that point in the second act when Evan falls apart emotionally in a morass of crushing guilt and remorse (in his song called “Words Fail”), you embody on the stage such a searing image of a self feeling utterly irredeemable that I was stunned into awed silence. You dug a hole for your main character so deep it seemed impossible to climb out of, and you dramatized exactly what being at a moral nadir feels like.
What happens next, though—and what prompted me to write you this letter—is that you found a way for that main character to atone and go on. It was as if a redemptive miracle occurred on stage, except of course there was no divine intervention. There was only the careful, conscientious craft of a brilliant book writer (Steven Levenson) and two equally brilliant composer/lyricists (Benj Pasek and Justin Paul). Together they had told a story on stage so original, emotionally identifiable, and redemptive that what’s possible to achieve in a musical got a Big Bang that will ripple through theater history from now on. Plus everyone who attends can come out a healed and happier person.
Thank you, dear Dear Evan Hansen.