Snow White, Rewritten in a Minor Key
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.

Steven Levenson (born May 1984) is a Tony Award-winning playwright, screenwriter, and television writer and producer. His plays include If I Forget, Core Values, Seven Minutes In Heaven, and The Language of Trees. He wrote the book for the musical, Dear Evan Hansen, which won six Tony Awards, including Best Book and Best Musical, as well as the Olivier Award for Best New Musical. He co-created and executive produced the FX series Fosse/Verdon, which was nominated for seventeen Emmy Awards, including Best Limited Series and Best Writing for a Limited Series, as well as for Critics’ Choice Association and Producers Guild Awards, in addition to winning the Writers Guild Award and an AFI Award for Outstanding Series. Other honors include the OBIE Award, two Outer Critics Circle Awards, and the John Gassner Memorial Playwriting Award. He adapted Jonathan Larson’s tick, tick…boom!, directed by Lin-Manuel Miranda, for Netflix. He is a graduate of Brown University.
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.