A powerful musical dealing with difficult themes, Next to Normal, has made a highly anticipated transfer to the West End following last year’s run at the Donmar.
Retaining the same five-person cast, it is led by a powerhouse performance from Caissie Levy as Diana, a wife and mother dealing with long-term bipolar stemming from a tragic incident in her life.
Tom Kitt (music) and Brian Yorkey (book/lyrics) have created a family drama that captures the mental turmoil of anxiety, depression, mania and grief.
Although there are moments of levity thanks to lighter moments dotted throughout the show, Next to Normal is an intense watch that may well be triggering for some.
It’s brutally honest and almost heartbreaking at times, and Jamie Parker (as Dan, Diana’s husband) is excellent as the man who stays in a situation he can’t quite understand with a woman he cares for, but no longer recognises.
Eleanor Worthington-Cox is Natalie, the “invisible child” on the periphery, in the long shadow of her brother Gabe (Jack Wolfe). Both give memorable and nuanced performances: she is resentful, hurt, worried; he is frustrated, menacing but also quite sweet.
Then there’s Trevor Dion Nicholas as Diana’s doctors (named ‘Fine’ and ‘Madden’). Whether pill counting or morphing into “scary rock star,” he is also marvellous, and the character(s) add an outside view to Diana’s family crisis.
Natalie’s boyfriend Henry (Jack Ofrecio) is on the outside looking in. As Natalie feels she may fall prey to her mother’s instability, Henry feels like the guiding force that can open her heart and mind again. You can root for that.
Chloe Lamford’s set and costumes place us in comfortable Americana, with various spots utilised for emphasis and humour in manic moments. Diana, at one point, makes sandwiches at speed on the floor; at another, the fridge holds an unexpected surprise.
With a revolving stage, there are hidden set-ups that drive the story, while a two-level set allows an upstairs to be suggested while giving the band a place to play. Lit by Lee Curran, it offers clues to plot and character development while adding an extra emotional heft.
In an act two scene, shadows are deftly employed, while at other points, projections on walls and floor illustrate Diana’s fractured state. Michael Longhurst’s direction keeps you engrossed, and he wisely allows one key scene to play in silence.
The songs are excellent across a varied score. “I Miss The Mountains” is a standout for Levy, while Wolfe’s angsty “I’m Alive” balances the delicacy of “I Dreamed A Dance”.
Next to Normal is not a cheery musical by any means but a thoughtful and empathetic peek behind one hidden door of many that surely shroud similar stories.
In transferring from a small venue, it now has room to breathe but still connects with a rapt audience following every move. An absolute triumph, well-judged and delivered.
Next to Normal continues at Wyndham’s – details and tickets here.
Image credit: Marc Brenner
*****