WOODMERE, N.Y. — If there is a world in which theater kids rule, Andrew Barth Feldman seems to live there.
He wanders through the halls of his high school — a lank, 5-foot-6, Disney-obsessed 16-year-old prone to bursting into song — like the mayor. Photos of him dot the hallways. Teachers stop mid-lesson when they spot him in the hallway, hoping he’ll come in and say hello to their classes. A basketball star in the cafeteria smiles and waves. The little kids in the library gawk as they hurtle by.
He’s long been a standout in their world — the kid who was organizing flash mobs at fourth-grade assembly, who founded his own theater company at 12 (it’s still going), who has been acting in school plays and camp shows and community theater productions for as long as anyone can remember.
And now he’s going to Broadway.
Even in an industry that delights in discovery, this teenager’s right-place-right-time story is one for the books: Last June, he was competing in the National High School Musical Theater Awards (known as the Jimmys) — which he won — when the lead producer of “Dear Evan Hansen” happened to be in the audience.
She knew immediately she wanted him for the show, and on Jan. 30, he assumes the title role, playing Broadway’s favorite socially anxious and ethically confused adolescent.
“I’m so nervous all the time about it,” he said, cleareyed, candid, and strikingly courteous as we talked in an empty classroom. “If I were to make my Broadway debut in any role, it’s Evan,” he added, somehow managing to be confident and self-doubting at the same time. “This is my favorite show since I saw it, and everyone has always said I’m right for the role. I think I agree.”
The role is wrenching, vocally and emotionally, and Andrew will be the first teenager to tackle it on Broadway. The character is 17, but adolescent boys are often thought to be too immature to play adolescent boys, and all of his predecessors have been in their 20s; Ben Platt, who won a Tony Award originating the role, was 23 when the show opened.
“There’s the possibility of getting us something that’s authentic and original and vital and has never been seen,” said the show’s director, Michael Greif.
Andrew is so young — and so new to the rigors of Broadway — that he’s going to begin his run doing just five performances a week, while taking vocal lessons to shore up his stamina. This will be his first professional production, and the creative team, determined to protect him as well as their smash-hit show, has decided the reduced schedule is their way of investing in his long-term success; the show’s alternate, Michael Lee Brown, will do the other three performances as Andrew builds comfort and strength.
“It’s a little scary for all of us — for him, for me, for his mom — because we’re asking a lot of him,” said Stacey Mindich, the show’s lead producer. “But in every single moment he has grown with us already — at every passage he has shown us he is uber-capable.”
This is not one of those stories about someone who happened into theater unwittingly. This is a story about an unabashed theater geek — a child who has adored Broadway since he saw “Beauty and the Beast” at age 3, who has been happily singing on stage since he landed the role of Mr. Bundles in a community theater production of “Annie” at age 8; who writes songs and plays the piano, guitar, drums, ukulele and bass; who has been to all four editions of BroadwayCon, including the one last year where he won a lip-syncing competition while performing as Angelica Schuyler from “Hamilton.”
His passion for the imaginary goes way beyond musicals. He’s a huge fan of “Star Wars” — “We watched ‘A New Hope’ in English class to learn about archetypes, and I was like, ‘Oh my God, this is the coolest thing’” — and has dressed as General Grievous and Kylo Ren for Halloween. (It’s not that he’s drawn to the dark side; it’s just, he says, that those characters look cooler.)
He’s an even huger fan of Disney (which now owns “Star Wars,” so maybe that’s redundant). He estimates that he’s been to Disney theme parks, including Disneyworld, Disneyland and Disneyland Paris, at least 20 times, starting when he was 6 months old. “Something draws me to the idea of being able to live in another world,” he said.
And now he really, really loves “Dear Evan Hansen.” The first time he saw the musical, a couple of weeks after it opened on Broadway in 2016, he was so overcome he couldn’t find the words to talk about it when his mother came to pick him up.
“It really, really hit hard,” he said. “I had never had such a visceral reaction to anything. Ever.”
He started playing the cast album on repeat. He sent songs to friends. He saw it again. And again.
He relates to Evan, and not just because he, like the character, lives with his single mom. “I mean, I’m a teenager,” he said. “I’ve been lucky to never personally struggle with a diagnosis of anxiety or anything, but I am a teenager. Of course I feel anxiety. Of course I feel nervous. Of course I feel alone.”
He called Evan “a manifestation of what’s going on in our heads as teenagers — he just can’t control what’s going on the outside as much as most of us can.” And he asserted, with the confidence of a teenager who has been seeing as many Broadway shows as he could for as long as he can remember, “there has never been a character so thoroughly real and authentic to that experience.”
I asked Andrew to show me around his high school — Lawrence Woodmere Academy, a small private school in the Five Towns section of Long Island — since he’ll be portraying a high school senior on Broadway while still a high school junior himself.
Of course, as of a few weeks ago, he’s not actually showing up for class — Broadway is too time-consuming, so instead he’s being tutored for 15 hours a week.
He grew up nearby, first in Hewlett Neck, and then in Woodmere. His mother is an alumna and administrator at the school; his father, a lawyer, lives in Manhattan, and he has an older sister. His tight-knit family also includes his mother’s sister, who lives down the street; the sisters raised their children together, and Andrew regards his cousins as his brothers.
Andrew has been performing nonstop since “Annie.” He had tried a variety of sports, but didn’t like them; he was better at teaching his fellow 9- and 10-year-olds to sing Beatles tunes. And then his parents’ marriage was splitting up, and his ailing grandparents had moved into his house, so his mother, Barbra Feldman, was thrilled that he had found something he could do in a place that felt healthier than home at the time. She has spent the years since supporting his enthusiasm. “My plan was not for my son to be a Broadway star,” she said. “My plan was to have a happy, well-adjusted child.”
He has played an amazing array of roles — the donkey in “Shrek,” Danny in “Grease,” Jack in “Into the Woods” — because over the last few years, he has often been doing five shows at a time, performing not only at school but also at Plaza Theatrical Productions in Lynbrook, the Rockaway Theater Company and St. Gregory’s Theater Group in Queens and Broadway Workshop in Manhattan. He has also built a large group of friends from the theater world; he met his girlfriend, who lives in Maryland, at Broadway Workshop.
“He’s the nicest child I’ve ever worked with,” said Marc Tumminelli, the director of Broadway Workshop. “And by being in amazing shows, as well as shows that weren’t that great, he built his own process, so he’s ready.”
The composer of “Be More Chill,” Joe Iconis, said he met Andrew in 2017, when the teenager was performing as Roger in a youth theater production of “Rent” that Mr. Iconis’s brother was directing. “It was truly insane watching that kid sing ‘One Song Glory’ as well as I’ve ever heard it sung ever,” he said. “He’s some sort of insane musical theater creature who has a preternatural ability to perform.”
The theater company Andrew founded — called Zneefrock after the name Andrew made up for the aliens at the now-closed space-themed restaurant Mars 2112 — began as his bar mitzvah project. He wanted to hold a one-night cabaret to raise money for autism research, because one of his cousins is on the autism spectrum.
That evening of “Les Misérables” and “Wicked” medleys held at the school theater was so successful, drawing theater kids, their families and fans that it became an annual event, with each one more ambitious, and raising more money for charity, than the one before. There was the “Star Wars” parody musical, which Andrew wrote with a friend; a minimalist reimagining of “Seussical”; and, last summer, a production of “Be More Chill” (yes, they managed to stage the show before it arrives on Broadway this winter).
And then, most impressively, last fall Zneefrock staged Jason Robert Brown’s “The Last Five Years,” which is a beloved two-hander about the rise and fall of an unsuccessful marriage, with a different gender configuration at each performance — boy-girl, girl-boy, boy-boy and girl-girl — to see how the show’s complex romantic dynamic might shift.
Now Andrew’s life is all Evan.
He said his house suddenly looks as if it was decorated by Ms. Mindich because there is so much stuff bearing the show’s signature color. “It’s like, everything is blue now,” he said.
He has vowed to stop eating dairy (hard when chocolate milk is still a dietary staple), and started drinking a lot of tea (plus water, water, and water). He’s rehearsing up to five hours a day, six days a week. And he’s thinking about Evan.
“Who is this person, separated from the performances that I’ve seen?” he asks himself as he delves deeper and deeper into the role. “I learn a bunch of new things about him every day, every rehearsal, every time I sit down and look at the script. And I’m going to find him.”B:
百姓一码2345444【第】643【章】【小】【溪】【背】【叛】【原】【因】（2） 【琦】【阁】【暗】【牢】。 【血】【鸦】【作】【为】【管】**【阁】【暗】【牢】【的】【直】【属】boss，【受】【到】【自】【家】【主】【子】【的】【命】【令】，【发】【布】【了】【从】【掌】【管】【暗】【牢】【以】【来】【最】【无】【厘】【头】【的】【任】【务】。 【所】【有】【人】【看】【到】【老】【大】【都】【亲】【自】【来】【了】，【都】【停】【下】【手】【里】【的】【工】【作】，【全】【部】【集】【合】【了】，【以】【为】【有】【什】【么】【重】【要】【的】【事】【情】【要】【吩】【咐】。 “【咳】【咳】，【主】【子】【命】【令】，【在】【今】【天】【下】【午】【之】【前】，【把】【整】【个】【琦】【阁】
【张】【御】【在】【进】【入】【自】【身】【意】【识】【深】【处】【之】【后】，【他】【首】【先】【看】【到】【的】，【是】【两】【道】【由】【无】【数】【明】【亮】【璀】【璨】【星】【辰】【组】【成】【的】【银】【河】，【它】【左】【右】【相】【对】，【横】【贯】【虚】【宇】，【浩】【瀚】【无】【边】。 【他】【略】【略】【一】【讶】，【以】【为】【自】【己】【的】【观】【想】【图】【便】【是】【这】【等】【模】【样】。 【一】【般】【来】【说】，【因】【为】【修】【士】【本】【身】【是】【生】【灵】，【所】【以】【观】【想】【图】【都】【是】【活】【物】【具】【现】【为】【主】，【因】【为】【若】【是】【观】【想】【图】【太】【过】【高】【渺】【遥】【远】【的】【话】，【反】【而】【不】【利】【于】【修】【行】。 【不】【过】
【普】【通】【人】【去】【瑞】【士】【银】【行】【询】【问】【特】【殊】【业】【务】，【得】【到】【的】【回】【答】【肯】【定】【是】【没】【有】。 【财】【富】【到】【达】【一】【定】【阶】【段】，【成】【为】【既】【得】【利】【益】【者】【以】【后】，【客】【户】【和】【银】【行】【之】【间】【开】【始】【捆】【绑】，【这】【时】【候】【再】【咨】【询】【业】【务】，【从】【藏】【匿】【资】【产】【到】【黑】【钱】【洗】【白】，【可】【选】【择】【的】【业】【务】【丰】【富】【到】【让】【人】【吃】【惊】，【几】【乎】【涵】【盖】【了】【方】【方】【面】【面】。 【瑞】【士】【法】【律】【规】【定】【除】【非】【确】【定】【犯】【罪】，【才】【有】【权】【力】【让】【银】【行】【公】【开】【账】【目】，【然】【而】【大】【多】【数】【时】【候】
【南】【天】【远】【哈】【哈】【笑】【道】：“【叶】【哥】，【你】【放】【心】【吧】，【只】【要】【有】【我】【在】，【不】【要】【说】【一】【个】【孩】【子】【了】，【就】【是】【一】【只】【苍】【蝇】，【都】【不】【会】【飞】【进】【去】【打】【扰】【你】。” 【说】【到】【这】，【那】【个】【晓】【燕】【忍】【不】【住】【打】【断】【道】：“【你】【们】，【是】【要】【在】【这】【里】【做】【一】【些】【非】【常】【重】【要】【的】【事】【情】【吗】？” 【叶】【玄】【这】【才】【转】【过】【脸】【看】【了】【眼】【那】【个】【叫】【晓】【燕】【的】【姑】【娘】，【沉】【默】【了】【一】【下】，【说】【道】：“【你】【说】【的】【不】【错】，【其】【实】【我】【是】【个】【非】【常】【有】【名】【的】【医】百姓一码2345444“【前】【辈】，【要】【不】【是】【阵】【法】【神】【奇】，【又】【如】【何】【能】【够】【瞒】【过】【那】【么】【多】【高】【手】【的】【探】【查】，【也】【不】【至】【于】【这】【么】【多】【年】【都】【没】【被】【人】【发】【现】。”【黄】【逍】【说】【道】。 “【就】【算】【如】【此】，【这】【道】【阵】【法】【也】【太】【过】【惊】【人】【了】【一】【些】。”【轩】【辕】【前】【辈】【脸】【色】【有】【些】【凝】【重】【道】，“【老】【夫】【曾】【见】【识】【过】【青】【铜】【钥】【匙】【对】【应】【的】【几】【处】【灵】【地】，【那】【些】【灵】【地】【的】【阵】【法】【远】【不】【及】【这】【里】。” “【真】【的】？”【霍】【炼】【有】【些】【惊】【讶】【道】。 “【怎】【么】？
【苏】【婉】【玥】【凝】【着】【脸】【色】，【用】【极】【小】【的】【声】【音】【道】：“【你】【得】【寸】【进】【尺】【落】【井】【下】【石】【是】【吧】？” “【呃】……【刚】【才】【不】【是】【你】【说】【我】【是】【你】【男】【人】【吗】，【怎】【么】【转】【眼】【就】【变】【卦】【了】？”【金】【衍】【之】【脸】【不】【红】【心】【不】【跳】【的】【说】【道】，【登】【上】【游】【轮】【后】，【还】【不】【忘】【对】【来】【往】【的】【人】【回】【以】【笑】【容】。 “……” 【苏】【婉】【玥】【第】【一】【次】【被】【自】【己】【的】【话】【给】【堵】【住】【了】。 【但】【是】【话】【已】【经】【被】【她】【放】【出】【去】【了】，【当】【着】【这】【么】【多】【人】【的】【面】
“【对】【了】，【这】【个】【东】【西】【给】【你】，【本】【座】【在】【到】【这】【个】【雨】【国】【的】【时】【候】【就】【发】【现】【这】【里】【被】【人】【做】【过】【手】【脚】【了】，【把】【这】【个】【带】【上】【以】【防】【万】【一】。” 【说】【着】，【冷】【清】【月】【将】【一】【个】【银】【制】【的】【小】【铃】【铛】【扔】【给】【了】【夜】【洛】。 “【这】【个】【当】【如】【何】【使】【用】？” 【夜】【洛】【看】【了】【看】【手】【中】【的】【铃】【铛】，【推】【测】【着】【它】【的】【用】【处】。 “【啊】……【你】【是】【傻】【子】【吗】？【铃】【铛】【当】【然】【是】【摇】【的】【啊】，【笨】！” “【我】……” 【夜】【洛】
【戈】【音】【整】【个】【紧】【绷】【着】【的】【状】【态】【也】【逐】【渐】【放】【松】【下】【来】，【她】【正】【准】【备】【躺】【下】【继】【续】【眯】【会】。 【却】【冷】【不】【伶】【仃】【发】【现】，【房】【间】【的】【门】【不】【知】【道】【什】【么】【时】【候】【被】【打】【开】【了】。 【甚】【至】【有】【道】【修】【长】【的】【身】【影】，【斜】【斜】【地】【靠】【在】【墙】【壁】【上】，【也】【不】【知】【道】【在】【这】【里】【站】【了】【多】【久】。 【戈】【音】【差】【点】【就】【尖】【叫】【起】【来】，【她】【伸】【手】【捂】【住】【了】【嘴】【唇】，【看】【样】【子】【被】【吓】【得】【不】【轻】。 【温】【斯】【年】【微】【蹙】【起】【眉】，【冷】【清】【的】【表】【情】【似】