Naomi van den Broek reviews Next To Normal, music by Ton Kitt, book and lyrics by Brian Yorkey, directed by Hayden Tee, with musical direction by Richard Marrett, at the Court Theatre, 17 June 2023.
Pulitzer Prize and Tony Award-winning pop/rock musical Next To Normal is a show centered on a woman’s struggle with, and treatment for, bipolar disorder. In recent years there has been a call for more diverse storylines to be explored on stage. Debuting in 2008, Next To Normal has been widely congratulated as being the first musical to tackle the subject of mental illness in depth. In his programme note, director Hayden Tee, says “Since the global pandemic, we have a more tangible understanding of mental health”. That may be true, although it’s worth mentioning that neither of the writers of Next To Normal have a personal experience with bipolar disorder (that I can see acknowledged anywhere online or in the programme), and that certainly felt apparent to me as an audience member. While the opening night audience of Court Theatre supporters and the local musical theatre community are on their feet in appreciation at the end of this well-staged performance, there are a number of moments where it feels like the show is capatalising on something it doesn’t have a true or deep understanding of. And while (if interval and post show conversations are anything to go by) I am clearly in the minority with this observation, suffice to say, your mileage may vary.
The Court Theatre rarely disappoints with production design, and Next To Normal is no exception. Designers Rachel Marlow and Brad Gledhill have created a believable world for the family to exist in: an architectural multi-level set (a nod to the genesis of onstage family) that functions variously as a house, a school, a recital hall, medical rooms and a hospital. Clever use of onstage lights, props and set pieces keep the action both dynamic and clearly focused on the actors. AV design by Rachel Neser amplifies the action and directs our attention, or fills in the blanks sometimes left by the lack of spoken text in this through-composed musical. Special mention goes to costuming by Sopheak Seng. Oftentimes in shows focused on ‘normal’ people, I find the costuming veers from either unbelievable caricature to basic and generic. Not here. Seng has managed to costume the cast in a way that feels like actual people chose what to wear, while still providing a sense of heightened reality. One costume in particular is an audience favourite, and garners a spontaneous and genuine reaction from the crowd. A total highlight.
Judicious direction, Hayden Tee, and choreography, Hillary Moulder, keep us focused in the right place in a show, and on a set, where there is a lot to pull our focus. My only complaint is that on this set, with its three flights of stairs, when actors on stage are singing about 95% of the time, there are times where it felt that this could have been more considerately tackled. There are moments in some of the more energetic numbers where the cast are audibly puffing. While it’s great to make dynamic use of a wonderful set, I do think the priority in a show like this should be allowing the performers to deliver the material. However, it’s been a six day slog for this cast coming out of tech week into opening night and perhaps they all just need a day off and a lie down to get their steam back. And fair enough too; what they are doing up there is hard work.
Musical director, Richard Marrett, ably leads the onstage band, made up of some of Ōtautahi’s finest musicians. Despite being separated across three locations on the stage, their performances are tight and assured. Balance is always a challenge with material like this, and – particularly in some of the bigger numbers – the singing gets drowned out by the band. This is an on-going bugbear of mine whenever I see musicals (not just at The Court); it’s not a gig! The audience need to hear the story and – especially for newer repertoire – when you can’t hear the text, you miss out. It also makes for challenges for the actors, who are having to work hard to get over the sound of an onstage band in repertoire that very rarely uses space or lightness. There are moments where their voices sound very tired. Again, I hope that a good rest day after an arduous tech week will allow their voices to rest and recover. An aspect of the sound design I really appreciate, and haven’t heard used before in a musical theatre context, is the use of specific effects on vocal mics during some of the numbers. It really heightens the drama and adds a surreal nature to some of the interactions. Bravo.
Next To Normal is a show that places big demands on its performers and this is a banger of a cast; all killer, no filler. Juan Jackson, in the role of the doctor(s), is intense, steely and just a touch terrifying. “Dr Rock” is an audience favourite and provides a welcome moment of comic relief. Henry, charmingly portrayed by George Hiku, is utterly believable in his naivete and openness. He provides the window through which the family can view the possibilities of another life.
Laurel Gregory, as teenage daughter Natalie, imbues her role with just the right amount of beleaguered eye rolling and desperation for maternal connection and affection. “Superboy and the Invisible Girl” is beautifully and truthfully delivered. Gregory was unable to finish the opening night performance due to illness. About three quarters of the way through the show, the performance was stopped and standby Lucy Sutcliffe, in the audience for opening night, was raced backstage to be prepped to go on. This is a huge ask for any actor, let alone someone in the early stages of their career. Kudos to Sutcliffe for knocking this challenge out of the park like a seasoned pro, and to the rest of the cast for picking up the emotional energy as the show heads towards its climax, and carrying the audience to the finish – almost as if it had never happened.
Darryl Lovegrove (Dan) and Joel Granger (Gabe) provide foils to each other, Lovegrove delivering on the reliable and stolid Dan with warmth but just the right amount of detachment, and Granger slinking around the set like a feline David Bowie, seducing his mother into memories of what could be. Granger’s deliveries of “I’m Alive” and “A Light in the Dark” showcased not just his vocal abilities, but his emotional range as a performer.
The central role of Diana is played by Juliet Reynolds-Midgley. Diana has the biggest and most challenging emotional journey of any of the characters. Material like this in the hands of another actor could come across as trite, insensitive or overwrought. Reynolds-Midgley delivers an honest, intelligent and nuanced performance full of emotional range and empathy. Her beautiful voice and thoughtful acting are best served in the (rarer) gentler moments in the show, which provide welcome relief to the melodramatic intensity of the almost relentless score. Her duet with Lovegrove, “How Could I Ever Forget”, is the emotional core of the performance, but also the first time I feel truly moved.
Next To Normal is a cohesive production that impressed and engaged the opening night audience. Personally, the musical itself left me very little space to actually connect or engage with the emotional journey of the characters, or the thematic and musical material itself. It felt pretty relentless and overworked, and I wished for more moments where the stellar cast could have been allowed to play in a more understated and subtle way with a subject that is important, complex and human.
Next To Normal runs until July 22 at The Court Theatre.
Flat City Field Notes 