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    You will be found

    Provocative Dear Evan Hansen sheds light on stigmas during Dallas run

    Meredith Rainey
    Meredith Rainey
    Nov 21, 2019 | 2:36 pm
    Stephen Christopher Anthony and the North American Company of Dear Evan Hansen
    The national tour comes to Dallas Summer Musicals November 26-December 8.
    Photo by Matthew Murphy

    Surviving the social ails of high school is a feat in itself. Many can relate to having some level of anxiety and feeling like an outsider during those sometimes challenging adolescent years (and those that follow).

    It’s in part those relatable feelings that have led Dear Evan Hansen to becoming an award-winning Broadway phenomenon, spurring conversations about important topics commonly shied away from, including depression, anxiety, and suicide. The national tour of the hit musical is showing Dallas audiences what the buzz is all about during the Texas leg of a national tour that also includes stops in Houston, Austin, and San Antonio.

    Stephanie La Rochelle is looking forward to the show’s Dallas run at the Music Hall at Fair Park, November 26-December 8. La Rochelle, an aspiring country music singer from Ottawa, Canada, joined the show in September as Zoe, Evan’s love interest (this is only her second professional theater credit). La Rochelle is one of four Canadians in the onstage cast of eight.

    “I wasn’t focused on theater, but this popped up and I went for it,” she explains. “The show is so intimate, it almost feels like a film on stage. It’s very raw and the music is very pop-heavy so it’s something I was very interested in.”

    For all its rawness, Dear Evan Hansen is not likely to be dubbed the feel-good musical of the year. It’s known for eliciting visceral responses from the audience and has a reputation for its "squirm in your chair, cringe-worthy moments."

    The crux of the story is that Evan, a lonely and socially awkward high school senior, tells a lie to help a grieving family after their son commits suicide. Evan’s misrepresentation of the truth spirals out of control while earning Evan the adulation and acceptance he’s always longed for. Although his intentions are good, Evan’s deception opens a can of worms and he’s eventually overcome with guilt.

    Evan's actions help make him a social media sensation, and the multiple screens around the stage displaying social media feeds and images add a modern storytelling twist and a hypnotic visual.

    “Social media almost plays a character in the production,” explains La Rochelle. “For Evan, things quickly spiral out of hand on social and I think a lot of young people can relate."

    The show’s spotlight on social media has spurred online activity offstage. La Rochelle says Dear Evan Hansen has a huge fan following that has sprouted a number of social media communities in which people share their struggles and offer support.

    “There are people who have found friendships online as fans of the show… I think the show is just lighting a fire under people — they feel like it’s a safe community to speak up in and it’s really, really special.”

    La Rochelle, who delivers a gorgeous vocal on “Only You” (a duet with castmate Stephen Christopher Anthony, who plays Evan) describes the music in Dear Evan Hansen as "contemporary" and "fabulous."

    “I’m just so proud to be part of something that is so moving, and I think all the songs really help tell the story. It’s really inspiring and exciting to be part of something that is generating conversations about mental health and helping erase that stigma ... and I’m so proud to be part of it,” she explains.

    The song “You Will Be Found” has become an anthem for people who are struggling and serves to remind people that they are not alone. La Rochelle thinks what makes Dear Evan Hansen so special is that most people can identify with at least one of the characters, whether or not they are facing challenges themselves. She says at its core, the show is about relationships, and it affects everyone in a very individual way.

    “Overall, it has an uplifting message and everyone walks away feeling something different," she says. "I think that’s what’s great about it and that is what is sparking those important conversations.”

    ---

    Dallas Summer Musicals presents Dear Evan Hansen at the Music Hall at Fair Park from November 26 to December 8.

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    news/arts

    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
    undefined

    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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    news/arts

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