I saw Next To Normal at the Donmar Warehouse last year where it broke my heart in the best ways. Considering I did everything I could to get a ticket then, to say I was excited about its West End transfer would be an understatement. Perhaps more shockingly, last week I was given the incredible opportunity to speak with the cast and creatives including composer Tom Kitt on the show’s creative process and what to expect from the Wyndham’s Theatre transfer.
I will dive into some of what was said in this review, but does Next To Normal still feel so alive in this new run?
TW: This review contains themes including mental illness (bipolar disorder), grief, ECT and drug use.
Was gifted a ticket in exchange for an honest review. All thoughts and opinions are my own.
Next To Normal
Cast
- Diana Goodman: Caissie Levy
- Dan Goodman: Jamie Parker
- Gabe: Jack Wolfe
- Natalie: Eleanor Worthington-Cox
- Henry: Jack Ofrecio
- Dr Fine/Dr Maddens: Trevor Dion Nicholas
Rating: ★★★★★
What is Next To Normal about?
Next To Normal follows the seemingly perfect loving Goodman family. Soon we find out matriarch Diana is living with bipolar disorder, and the show explores how it impacts the rest of her family including husband Dan, perfectionist student daughter Natalie and son Gabe.
What are my thoughts on Next To Normal?
Much has changed in the 16 years since Next To Normal opened off-Broadway when it comes to the topic of mental illness, but what hasn’t changed is the empathy Brian Yorkey’s script has towards its main character with bipolar disorder. While some elements feel outdated now as it can lean into the “mentally ill women are quirky” stereotype, it’s still an emotionally raw depiction of how someone’s mental illness impacts the whole family. Discussing such heavy and taboo topics as grief, the ethics of ECT and the ‘right’ mental health therapies, director Michael Longhurst treats them with care while finding the right tonal balance between the humour at the start and the darkness afterwards without it being a huge whiplash.
What has always remained Next To Normal’s biggest strength is its Tony and Pulitzer-winning music. With 37 songs under their belt, Tom Kitt and Brian Yorkey’s memorable melodies and poetic lyrics convey all the emotions from the heartbreaking ballad I Dreamed A Dance to the hard rock like Didn’t I See This Movie to the fun yet ironic patter song It’s Gonna Be Good. Talking with Kitt, it give me new appreciation for them.
How does it compare to the Donmar Warehouse run?
The most obvious difference is the scale. As the Donmar’s 250-seat auditorium and thrust stage created a more intimate atmosphere that honed in on the family dynamics, Longhurst accommodates the Wyndham Theatre’s 800-seat traditional proscenium by making the show feel larger than life and electric, giving it more air to breathe figuratively and literally. Tom Kitt and Brian Yorkey’s epic folk rock score is now allowed to radiate across the auditorium as Chloe Lamford’s sleek wooden kitchen set showcases the band on the upper level going all out.
What feels the most compelling from the Donmar Warehouse run is the changes in the relationship dynamics. As was discussed at the media event, Diana and Dan’s feels the most different as tensions are simmering from the get to with Diana wanting to be open with her emotions while Dan tries to control the situation to get the family back to ‘normality’ despite his good intentions. Natalie and Diana’s also feels more refreshing as both parallel each other
What’s the cast like?
If the cast broke my heart in the Donmar Warehouse run, they fully ripped it out and crushed it to pieces this time – how they’re able to get in such emotionally dark places eight times a week astounds me. Caissie Levy’s Diana Goodman was already compelling, but now feels more fully realised as she embraces her manic and frenzied moments. Possessing a powerful steely voice that echoes across the Wyndham’s in I Miss The Mountains, it’s the quieter moments that leave the most impact, especially the times where she clearly thinks she’s the only sane person. Had Next To Normal opened with this year’s transfer, I think she would’ve had a chance of an Olivier win.
Jack Wolfe’s transformative performance as Gabe was the breakout of the Donmar run, and it still stands here. It would be impossible to fully discuss Gabe’s role in the narrative without going into spoilers, but Wolfe’s chameleon-like ability to switch from loving son to aggressive otherworldly rockstar creates a haunting character far from Aaron Tveit’s perfect golden child from the Broadway production. His I’m Alive is pulsating and electric which won’t get out of my head any time soon.
Eleanor Worthington-Cox hits all the emotional beats and possesses a beautiful voice in numbers like Superboy and the Invisible Girl as stressed perfectionist daughter Natalie who resorts to self-medicating with drugs to cope with her family situation. Jack Ofrecio is sweet as supportive love interest and ‘pretentious stoner’ Henry. Trevor Dion Nicholas is also a standout, masterfully separating his dual roles as Dr. Fine and Dr. Maddens and even getting to rock out.
Dan may feel like the most overlooked family member (as Diana says, he is boring), but Jamie Parker brings one of the most honest and raw performances of the lot. Trying to be a loving and supportive husband and father to the point of neglecting his own grief, you can feel his patience waning as he desperately tries to keep the family together and bring back the woman he fell in love with until it inevitably comes crashing down. If you weren’t already crying, his performance in the final fifteen minutes will get the waterworks going.
What are my overall thoughts?
An astonishingly profound musical that expands on what it achieved at the Donmar Warehouse, Next To Normal is performed by one of the best ensembles in the West End at the moment and possesses beautifully composed folk rock music that remains timeless. I will say now that Next To Normal isn’t an easy show to watch, but if you can, go and see it to appreciate what it’s saying.
Next To Normal runs at the Wyndham’s Theatre until September 21st.
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