| Summary: | 21st century audiences are finding new methods of engaging with the Broadway musical, and fandoms are beginning to establish a visible online presence. In turn, this is creating a shift in paratexts surrounding the musical. Using social media to cultivate relationships, communities and fandoms, Generation Z are responding to the musical in new and innovative ways. Fan-created paratexts are becoming more popular, as fans become more intent on establishing connections to the production. Younger audiences’ tendency to engage with these interactions has allowed them to become the most active audiences on social media, both critically engaged and creative. The access to online interactive platforms such as Twitter, Instagram and Tumblr bring new opportunities for paratextual creations. Examples of this “next stage of engagement” can be seen through the production <i>Dear Evan Hansen </i>(2015), which is now pushing the limits of social media and successfully utilising Dolan’s utopian performatives to draw in audiences and engage its fandom, or, as they call themselves, the Dear Evan “Fansens”. The fandom is using these paratexts in establishing one-to-one connections with its fans, allowing the fan-created material to “speak back” to the performance moment itself, and it is this which validates a transactional relationship between fan and production. This work ultimately sets out the fandom’s desire to “be found”.
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