BWW Special Coverage: DEAR EVAN HANSEN - Arena Stage's Free Program with the Creative Team of the World Premiere Musical

The Arlene and Robert Kogod Cradle (the most intimate theater of the three at Arena Stage with a capacity of 220) was so packed with spectators that chairs had to be added onto the stage. They were there to witness a program entitled "Building an American Musical: A Conversation with the Creative Team Moderated by Washington Post Chief Theater Critic Peter Marks". That team for the world premiere musical DEAR EVAN HANSEN included composers Benj Pasek and Justin Paul, Director Michael Grief, and book writer Steven Levenson. According to Artistic Director Mollie Smith, this is a free quarterly program that Arena Stage has established and this presentation must have been the biggest they've ever had. Smith looked over the audience and commented, "This must mean you like new American musicals." She added, "When I first heard the music, the hair on my back stood up." She mentioned the composers Pasek and Paul and their work on the Tony nominated A CHRISTMAS STORY, the Off-Broadway musical DOGFIGHT, "James and the Giant Peach" and the television series "Smash". Finally, she ended her remarks by asserting the musical "speaks eloquently about this time in America.

It was evident that the audience was incredibly diverse and was filled with young people who had attended preview performances of the show and wanted to learn more about how the musical was begun.

Grief commented that there is nothing more difficult than writing a new American musical and that DC has been an early arbitrator of original work and mentioned the two shows he was involved in - NEXT TO NORMAL at Arena Stage, and IF/THEN at the National. Marks asked him to describe what this show is all about. Grief stated, "It's about a lonely kid and a grieving family in crisis and how they find each other via an incredible event... the kid is adopted by this family, tells terrible lies to them, and the show deals with the consequences about being absorbed by the family under false pretenses. I thought it was a great story. I heard the first act and heard come thrilling songs."

Paul talked about how Pasek was inspired by real events at his high school and how people respond to tragedy and loss. He recalled that a student died, an anonymous kid, but after he died became very popular. The question is why? Pasek stated students invented stories about how they were involved with him. Paul added that people often embellish stories about a tragedy in order to be a part of it. Marks commented that this demonstrates how cynical our society is. Pasek added, "The family needs this boy."

An often asked question they get is who writes the words and who writes the music. Paul added, "Neither of us writes alone. We work together regarding both." It is Paul who is at the piano though but it was agreed it is a collaborative effort.

They have an interesting history working together at first at the University of Michigan (Pasek added, GO BLUE!). Pasek stated they went to Michigan to become actors. "We were the worst dancers. Clearly we were not triple or even double threats. So we began writing songs together at the age of 19. We sent a score to the writers of AVENUE Q who we met on Friendster. They invited us to Las Vegas into the rehearsal room during our sophomore year while they working on AVENUE Q. They then moved to NYC and were accepted in a Fellowship Program and we were allowed into the rehearsal room for NEXT TO NORMAL while it was a Second Stage. An informative experience. We were mentored by composers Lynn Ahrens and Stephen Flaherty. When Marks commented the two were really accepted into the business, Paul added that composers seem to have an instinct to nurture, not compete.

When it came to looking for a book writer, Pasek stated of all the contemporary writers, Levenson's name kept coming up. The process in fact started about four years ago and Levenson wrote a five page document about the story at a writing retreat.

Director Grief commented on the incredible song at the end of Act I. " It's still there. I love the process. It's easier to direct something that's good." Regarding Grief, Paul added they were very respectful of Grief's work. "We needed one who shaped shows so strong."

Marks stated that this is an eight person musical and asked how critical was it to find the right guy for the lead.

It was Pasek who recommended Ben Platt for the lead. He stated, "Ben was 17 when he auditioned for DOGFIGHT. He was not fit for the part but was fantastic. I thought he would be great as the lead in HANSEN. He has such deep empathy, he sings incredibly well. No one else could do this role as good as he could." Grief added he was also familiar with Platt.

The book writer Steven Levenson hails from Bethesda, MD and was pleased to point out his high school drama teacher, Roy Barber, was in attendance. It was Barber who introduced him to INTO THE WOODS. Levenson was asked how he got involved with the composers. "I loved their music. It has a contemporary sound. I feel excited to work with them. The story has a deep emotional core." He spoke about his studies at Brown University where he worked with playwright Paula Vogel. He spoke highly of the cast of HANSEN. "They are incredibly smart actors who bring in new things."

When Marks asked Levenson what it was like after the first preview he replied, "Excited and scared" alluding to INTO THE WOODS. Pasek said they were surprised where people responded and how well they responded. Grief stated he was really happy. "It was clear the audience took the trip with us."

In comparing how different it was dealing with a play versus a musical, Levenson spoke about how easy it is to change the words of a play while so many people are involved working on a musical mentioning the arranger, the orchestrator, the copyist plus the actors having to learn the new music and lyrics.

Marks asked the writers if the show was "pre-Broadway". Paul was quick to say "It's only here and we're lucky to be here."

Pasek was pleased to learn that their show DOGFIGHT would be done at a local theater (The Keegan Theatre from August 22 to Sept. 11, 2015) and hoped to maybe attend a rehearsal. (I enjoyed DOGFIGHT very much Off-Broadway and recommend it.)

Marks ended the evening by pointing out the diverse age in the audience. He added, "This play speaks to several generations which is exciting." I couldn't agree more.

This is one of the most anticipated shows of the summer. Opening night is July 30, 2015 and the show runs until August 23, 2015. Get your tickets by calling 202-488-3300 or visit www.arenastage.org.

I applaud Arena Stage for presenting these free informative evenings. The audience was very appreciated.

For a nice video of the creative team and some scenes from the show via the BBC, here's the link - http://www.bbc.com/news/magazine-33629130. (Thank you Benj Pasek for this.)

Photo L. to R. Benj Pasik, Justin Paul, Peter Marks, Steven Levenson, and Michael Grief.

Photo Credit - Charles Shubow

cgshubow@broadwayworld.com

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