A new production of the six-time Tony Award-winning show “Dear Evan Hansen” opened at the Zach Theater on Wednesday. Following the well-meaning, but socially anxious Evan Hansen (Evan Jennings) as he grapples with the implications of his classmate’s suicide, the Zach’s production does no favors for the show’s apparent growing pains since its 2016 Broadway debut. Although anchored by a charming lead in Jennings, “Dear Evan Hansen”’s poorly aged themes and often underwhelming production from Zach Theater leave much to be desired from a night at the theater.

As the curtains open, audiences meet a visually striking set, with an array of floating blue panels, mirroring the stage design of the Broadway production, which utilized electric panels displaying social media feeds — a significant driving force in the musical’s narrative. However, awkward set pieces – most glaringly a rolling work ladder that Evan ascends in “For Forever” — and a stage speckled with colorful spike tapes prevent the well-crafted backdrop from being truly transportive.
Adding insult to injury, the show’s musical numbers repeatedly come off as stiff and under-rehearsed. Although buoyed by outstanding vocals from every cast member, several musical numbers are sabotaged by clunky choreography and singing that drags behind its orchestral accompaniment, particularly in the show’s most iconic number, “Waving Through a Window.”

Criticism of “Dear Evan Hansen” regularly centers around its encouragement of audiences’ sympathy for Evan’s despicable behavior, alongside the lack of characterization in Connor, used to move Evan’s narrative rather than as a way to discuss mental health. Zach Theater’s production reimagines Connor (Dominic Pecikonis) as a nonbinary person, which the theater’s social media page claims brings “new meaning, complexity, and truth to the character.”

Unfortunately, the Zach Theater’s Connor remains just as underdeveloped and detached from the emotional core of the story as the character’s original imagining. The new character detail only generated confusion, as many of the characters continue to refer to Connor as “he,” often coming off as a mistake from the actors rather than scripted character moments.

Despite a story that still struggles to connect with many audiences, and a production that often experiences significant lapses in quality, Zach Theater’s “Dear Evan Hansen” still manages to charm.

Powerhouse vocals from Jennings and Eugenia de la Garza, who plays Connor’s sister, Zoe, provide a much-needed anchor for the show’s sometimes incompetent handling of the already problematic source material. Because of this, many of the show’s big musical numbers still land, especially the Act I finale “You Will Be Found.”

Even though the Zach Theater’s production of “Dear Evan Hansen” often misses the mark, it can still offer audiences a satisfying viewing experience, especially those who are fans of the original Broadway production.

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