Dear reader, although watching Dear Evan Hansen at Capital One Hall may offer a somewhat disjointed visual experience, it remains a worthwhile one, and here’s why: With a book by Steven Levenson and music and lyrics by Benj Pasek and Justin Paul, the musical delves deeply into the complexities of adolescence, mental health, and the consequences of lies born from isolation and a yearning for connection. At some point, we’ve all encountered some form of these struggles in our lives. While the production on tour at Capital One Hall tackles these emotional themes effectively, the digital set design both enhances and occasionally detracts from the show’s immersive quality. Dear Evan Hansen follows Evan, a socially anxious high schooler who, after the suicide of his classmate Connor Murphy, is mistaken as Connor’s best friend due to a misunderstood letter. Desperate for connection, Evan perpetuates the lie, leading to a viral outpouring of sympathy for the Murphy family and newfound closeness with them. However, as the lie spirals, Evan must face the emotional and moral consequences of his actions. Michael Fabisch as Evan Hansen and Bre Cade as Heidi Hansen in the 2024-2025 National Tour of ‘Dear Evan Hansen.’ Photo by Evan Zimmerman for MurphyMade. A digitized backdrop is a central feature of this production, but rather than immersing viewers in specific, relatable settings — such as a school or family home — the digital backdrop feels generic. The abstract, glitchy projections of images and text seem disconnected from the characters’ world as if set in “anywhere USA.” Additionally, when characters communicate digitally, they stand on opposite sides of the stage, speaking toward either the audience or a computer. If it’s a video call, why not project it directly onto the screen? If it’s through text messages, why not project the texts as well, fully immersing the audience in this digitized world instead of relying on distorted images as a backdrop? That said, there are moments when David Korins’ scenic design and Peter Nigrini’s projections work to the show’s advantage, highlighting how a more selective use of digital backgrounds could have been more impactful. For example, as Evan Hansen’s speech gains popularity, the barrage of tweets, news clips, and online reactions effectively amplifies the overwhelming nature of social media. Similarly, when the misrepresented “death note” goes viral, the visuals and sound effects powerfully depict the rapid escalation of events online, for better or worse. However, in quieter, more intimate scenes, the digital projections often feel unnecessary and detract from the musical’s raw emotional core. Even the blue screen backdrop behind rows of orchid plants feels artificial, underscoring how the digital world in this production has overtaken the sense of reality. A particularly poignant moment in the show is the powerful exploration of unconventional grief in the song “Requiem” (performed by Zoe, Larry, and Cynthia Murphy). Hatty Ryan King as Zoe Murphy delivers a compelling performance, expressing relief at her brother Connor’s death, feeling liberated from the torment he inflicted on her. Meanwhile, as Larry Murphy, Jeff Brooks skillfully navigates his character’s frustration and resentment, lamenting that he gave Connor everything, only for Connor to “throw it all away.” This portrayal of unresolved grief, which deliberately avoids neat resolutions, adds layers of complexity to the show and provides the emotional depth it strives for. Despite the archetypes in Dear Evan Hansen — the nerds who believe “people don’t care about people like us,” the single mother struggling to be enough for her child, the overachieving student proudly listing her leadership titles, and the wealthy parents searching for meaning after their son’s suicide — the actors skillfully elevate these characters beyond their stereotypes. Michael Fabisch as Evan Hansen and the company of the 2024-2025 National Tour of ‘Dear Evan Hansen.’ Photo by Evan Zimmerman for MurphyMade. Michael Fabisch as Evan Hansen delivers an exceptional performance, with his panic attack during a speech standing out as a raw, intense moment that makes his anxiety palpable. Bre Cade as Heidi Hansen, Evan’s single mother, brings a perfect balance of strength and vulnerability to her role. Cade shines in one of the show’s most poignant moments when she comforts Evan in the number “So Big/So Small” with the simple yet profound line “Your mom isn’t going anywhere. Your mom is staying right here” repeated for emphasis. This moment of connection is deeply stirring and stands out as a key, if not the defining, emotional highlight of the production. While the incorporation of the digitized set design could be improved, the strength of the performances and the emotional core of Dear Evan Hansen remain undeniable. The production skillfully navigates themes of mental health, grief, and the deep yearning for connection. Ultimately, the heart of the story — the exploration of human vulnerability and the consequences of our actions — shines through, making this a profoundly moving experience. Running Time: Two Hours 40 minutes including a 15-minute intermission. Dear Evan Hansen played October 18 to 20, 2024, at Capital One Hall, 7750 Capital One Tower Road, Tysons, VA. The cast and creatives for Dear Evan Hansen are on the national tour website here  SEE ALSO: Broadway in Tysons returns to Capital One Hall for 2024/25 season (news story, April 25, 2024)