Dear Evan Hansen follows the titular character Evan; an anxiety-riddled teen who is tasked with writing himself letters in the interest of positivity and self-development. When one of these letters gets into the wrong hands, Evan spins a web of lies. Although he has good intentions, we soon see the fallout and damaging impact of his actions.

Evan is played by Ryan Kopel, who perfectly embodies social anxiety with every twitch, hand-wring and stutter. He is a standout performer in an already incredible cast, and an extraordinary singer too. The phenomenal and complex score would push any actor, but he nails every note and nuance. The performance is first rate, and we really feel his anguish and longing to belong.

Frazzled mum (Alice Fearn) struggles with work life balance, finances and raising a son who clearly finds life a challenge. Fearn gives a stellar performance and her vocals switch between impressive belts to gentle poignancy. She excels in the song So Big/So Small.

Best friend, or ‘best family friend’ Jared (Tom Dickerson) brings extra comic relief, as he ribs his buddy over his attempts to woo love interest Zoe. He is believable and relatable as a high-school teen who relishes the banter. Expect sex jokes, swearing and crass teenage humour. A kid’s show this ain’t!

Another friend to Evan, Alana (Vivian Panka) is preppy and eager to please. Another excellent singer, she is unwittingly responsible for the exposure of Evan’s deceit.

Connor, played on press night by understudy Will Forgrave, is the high school rebel with deep issues and a quick temper. For such a grungey character, he really shines in the comic song Sincerely, Me, which sees him and Jared hot stepping and cavorting around the stage.

Sister Zoe, (Lara Beth-Sas) was another understudy for this performance. She begins as a surly teenage girl but later softens – bringing an understated gentleness to the role as her character arc progresses.

Connor’s mum (Helen Anker) and dad (Richard Hurst) complete the family dynamic, and give solid performances filled with remorse. Their fractured relationship clearly hangs in a delicate balance but they take Evan under their wing, showering him with affection and becoming a fantasy family for the troubled teen.

Technically, the show is a triumph. Projection is used effectively throughout, but never over-used. Morgan Large’s set is sparse at points, and allows the performers to really shine. We may see a suggestion of a bedroom with just a few beds, or a row of lockers to represent a high school corridor. Cleverly, said lockers open up with lights inside – just one aspect of a clever and dynamic lighting design by Matt Daw.

The fantastic band is led by Michael Bradley. Levels are well balanced and the score blew us away. We were to quick to stream the soundtrack on Spotify after!

This powerful and emotive show is a far cry from the twee and often cheesy musicals of yesteryear. Don’t expect toe-tapping fun throughout, and there’s certainly no megamix at the end. In fact, the finale of the show is unlike any musical I’ve seen – opting for a relatively gentle and poignant conclusion rather than a rousing encore or reprise.

Dear Evan Hansen tells an interesting and important story that echoes the challenges of the modern day. Heart wrenching at times, it packs an emotional punch. This somewhat shellshocked audience were instantly on their feet at the end for a full and deserved standing ovation.

Powerful, emotional, unforgettable theatre. A must see.

Dear Evan Hansen runs at the Grand Opera House until Saturday 28th June. Secure your seats at https://www.atgtickets.com/shows/dear-evan-hansen/grand-opera-house-york/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

We donned our colourful coats and headed to Leeds to catch the classic Andrew Lloyd-Webber hit Joseph and the Amazing Technicolor Dreamcoat.

Unless you’ve been living under a burning bush, you’ll probably know that the plot follows the tale of a young dreamer sold into slavery, who bounces back as Pharaoh’s right-hand man. Donny Osmond popularised the title role in the 1999 film, as well as Jason Donavan, Philip Schofield, Darren Day and Gareth Gates on stage.

The action takes place across Canaan and Egypt, and Morgan Large’s set transports this eager audience in a haze of drapes, stars and a vivid palette. Ben Cracknell’s lighting design is electric, and accentuates everything from the pulsing disco vibe of Go Go Joseph, to a dank jail cell in Close Every Door. There are props aplenty too, and I found myself wanting a go on the clever Camel-bikes or taking Joseph’s golden chariot for a spin!

We first meet Christian Bianco’s Narrator, who is the golden thread that holds it all together. Instantly likeable, she playfully jokes with the audience when her disguises (including Joseph’s dad Jacob) fool nobody. With powerhouse vocals and a real warmth, she reminds this reviewer of a younger Jane McDonald.

Adam Filipe might be the most well-spoken Joseph we’ve seen. He fills the boots well and is truly a walking work of art in his colourful coat. Boundless energy and incredible vocals, he excels during Close Every Door which he delivers with a real poignancy.

Star turn Joe McElderry (of X-Factor fame) is our Pharoah. A long time coming – Pharoah doesn’t appear until well into the second act – he is worth the wait and has all the swagger of this Elvis-inspired King of Egypt. Another tip-top singer, with the odd cheeky wink to the crowd. His key scene is a visual highlight too, and sees him surrounded by dancing statues, hieroglyphs and even a lip-syncing Horus and Anubis.

The entire ensemble work hard, and there is no weak link. I can only imagine the speed of quick changes behind the scenes, as performers switch in and out of wigs, beards and the many stunning costumes.

All the previous productions of Joseph we’ve seen have been very much by the (Good) Book, and we arrived last night thinking we knew exactly what to expect. However, this tour keeps things fresh and innovates in some surprising ways…

Firstly, the children are no longer consigned to just ‘ah ahs’ in the chorus, and instead play an integral role throughout. Donning fake beards, they join the band of brothers, and even take on some of the larger roles. A pint-sized Potiphar is a triumph! The Baker and Butler duo are fantastic too. All the children fizz with energy and enthusiasm, and get some of the biggest laughs of the night.

Other innovations include a cheerleading twist on Go Go Joseph, a slightly obscure Can Can routine in Canaan Days (“I said Canaan, not Can Can!”) and fresh, modern choreography. There are other nods to the modern day too, with iPhones, Starbucks and Converse all appearing.

Some theatregoers lament how simple Joseph’s score is, and it was originally written so that primary schools could stage it with ease. But oh boy are the songs catchy and varied! Expect everything from Calypso, Western and French ballads to rock and roll, pop and jazz. All are delivered with crystal clear vocals, tight choreography and a rousing live orchestra led by John Rigby.

Ideal for musical theatre fans, Joseph is song n’ dance from start to finish. There are dips in pace in the second act but overall its punchy and slick. The much-anticipated Megamix has the whole audience on their feet at the end, and brings the show to a close in a riot of colour and toe-tapping fun.

A Dream ticket, Go Go Go book now!

Joseph and the Amazing Technicolor Dreamcoat runs until Saturday 29th March at Leeds Grand Theatre. Book your tickets at https://leedsheritagetheatres.com/whats-on/joseph-2025/

For all upcoming UK tour dates visit https://uk.josephthemusical.com/tickets

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.