Evan Dolan’s aunt was over-the-moon excited.
And who could blame Michele Corrado. The Arlington Heights woman had just watched her sister’s youngest of six children on stage at the Paramount Theatre, singing and dancing his way through Irving Berlin’s iconic “White Christmas,” which is being staged at the theater through Jan. 11.
Corrado has certainly seen her nephew in plenty of other productions on stage at what she describes as “this gorgeous theater” in downtown Aurora. And no wonder – this is Evan Dolan’s ninth Broadway Series show, starting with “Sweeney Todd” in 2017, followed by “Newsies,” “Beauty and the Beast,” “Cinderella,” “Charlie and the Chocolate Factory,” “The Full Monty,” “Frozen” and “Cats.”
But this “White Christmas” performance was special. It is her nephew’s first time in a principal role and Corrado could not have been more proud as she watched him shine as the charming and carefree Phil Davis.
“He was unbelievable,” she gushed. “To learn all those lines … all that singing, dancing and lifting … all those body gestures.”
While Corrado could be accused of at least a little bias, she’s not exaggerating the performance of 31-year-old Dolan, who is well aware of just how big of a career milestone it is when you get to be front and center in such a spectacular and iconic production.
Dolan is understandably pumped.
“It is a long time coming,” he said, noting this role is “the culmination of everything I have to offer.”
It’s that talent which makes him “a true actor/singer/dancer” and “a star” in every sense of the word, said Jim Corti, who as the Paramount’s artistic director gives total control over casting to the show’s director and casting director, in this case, Stephen Schelhardt and Trent Stork.
“And we never precast a show,” Corti added, noting that all the artists enter the process “on a level playing field.”
Still, getting this role could be considered destiny for Dolan. Back in college “when we were assigned actors most like us,” he told me, “I got Danny Kaye.”
Evan Dolan relaxes following a recent matinee of “White Christmas” at the Paramount Theatre, where he takes on the rigorous role of Phil Davis, his first lead after being in eight Broadway Series ensembles at the downtown Aurora theater. (Denise Crosby/The Beacon-News)
Born and raised in Dubuque, Iowa, Dolan, who admits that, as a kid, “I could not hold a conversation without singing,” began performing in theater in fourth grade and never stopped. Classically trained, he was doing summer theater in upstate New York when he realized “I can do this for a living.”
And it was opening night for his last show in college at Illinois Wesleyan University that he skipped classes earlier in the day to make it to auditions for the Paramount’s “Sweeney Todd.”
After finishing this ensemble debut, Dolan graduated and worked around the country – even moving to New York for a few years before realizing that, although he loved the Big Apple, “I did not have a sense of home” there.
Now a resident of Chicago, Dolan certainly has found a second home at the Paramount, especially after it became apparent this classical baritone was also born to dance.
“He showed up for ‘Newsies,”’ noted Corti, “with a technical dance proficiency that had him holding his own with guys from dance companies.”
As an understudy Dolan also picked up valuable experience when he got the call – including as Crutchie Morris in “Newsies,” as LeFou in “Beauty and the Beast” and more critically, as Willie Wonka in “Charlie and the Chocolate Factory.”
What “could have been awful,” he said of that last-minute request to cover the lead in a performance of the Paramount’s 2023 holiday production, turned out to be an empowering experience that made him realize “I could do anything.”
It’s a must-have confidence that has only grown, especially after getting call-backs for both male leads in “White Christmas.”
“Phil just feels easy for me,” Dolan said of that original Danny Kaye movie role, noting the element of “clown in this character” that puts so much humor into the classic holiday story.
Plus, “White Christmas” is “such a good fit because part of my soul should have lived in the 1950s,” he told me. “I grew up listening to Bobby Darin, Vic Damone and Frank Sinatra. When I heard those guys I hear myself.
“That’s another special part about this role.”
As is the athleticism this performance demands.
Dolan describes the part as “very hard,” especially when acting is required immediately after a four-minute dance number involving lifts, turns, precision footwork and sustained movement. Playing Phil Davis, he said, has definitely made him physically stronger. But it has also fortified the resume of this rising actor, who now realizes the lead comes with more responsibility because “how you are in rehearsal can change the entire energy of the room.”
Dolan admits his heart is still tied to those in the ensemble, whom he considers equally important to the success of the production.
“There is no hierarchy,” he added, which is why “I love the big barn scene” at the end of the show. “I get to be with my friends.”
Knowing his aunt and other family and friends have been in the audience, he added, has made the experience even more memorable. Still, as much as he’s enjoying the attention, Dolan is not sitting on his laurels and continues to take classes “all the time to get better in everything.”
That work ethic does not surprise those who have been watching this performer for a long time.
“He doesn’t know it but to see Evan rise to the comic/romantic lead, a singing and dancing powerhouse, is personally a most gratifying aspect of presiding over the development of artists here at the Paramount,” said Corti.
“He just keeps getting better at every audition … I couldn’t be more proud or happier for him.”
dcrosby@tribpub.com
