Lakeland’s NEXT TO NORMAL: compelling script, must see production
Roy Berko
(Member, American Theatre Critics Association, Cleveland
Critics Circle)
If you were an investor in Broadway shows and someone came
to you proposing a rock musical about a mother with worsening bipolar disorder,
that was going to be performed as an operetta (all singing, few spoken
sentences), with no show stoppers, no dancing, no chorus numbers, few laughs,
and an unnerving ending, written by an author who has never had a big hit,
would you invest? Well, a group
did, and the result was NEXT TO NORMAL which won three 2009 Tony Awards and the
2010 Pulitzer Prize for Drama and had a smash 733 performance-run on Broadway,
and is now touring to sold out audiences.
Yes, NEXT TO NORMAL, with book and lyrics by Brian Yorkey
and music by Tom Kitt, is a unique musical which addresses loss, death,
suicide, drug usage, and the ethics of modern psychiatry, which is getting a
mind-blowing production at Lakeland Theatre.
The Pulitzer Board credited the show with “expanding the
scope of subject matter for musicals.”
The story concerns Diana Goodman, a suburban American
housewife, who has a form of bipolar disorder coupled with what might be
schizophrenia. The question comes
as to whether the condition is hereditary or was induced by a trauma
sixteen-years earlier. Together
with her husband, Dan, she fights to keep her mind and their family on some
sort of “normal” path. Maybe not
normal, but next to normal. After
extensive therapy Diana decides to stop taking the pills, cuts off all mental
health help, including the electroconvulsive therapy, that caused her
short-term amnesia. This decision
leads to an unsettling conclusion.
As both a mental health professional and a theater reviewer,
when I saw the original staging on Broadway, and again in its presentation as
part of the Key Bank Broadway Series, I was totally caught up in the show. It is like no musical I had ever seen. I left the theatre knowing that I had
just experienced greatness.
The Lakeland production, under the adept direction of Martin
Friedman, with the set and light innovations by Trad Burns, is mesmerizing.
Friedman and Burns remove the Broadway three-level set and
substitute see-through walls constructed of steel wires, which, like the
connections in Diana’s brain, represent her being trapped in a spider web of
chaos, causing her to weave in and out of situations which she doesn’t
understand and disrupt her direct flow of ideas and movements. In addition, instead of traditional
stage lighting, the duo has substituted nearly a hundred lamps of various
descriptions to illuminate the set and simulate the on and off flow of ideas in
Diana’s mind. The concept is
brilliant and takes the script to a level not realized in the original staging.
The composite cast is outstanding. Amiee Collier wraps herself in the role of Dianna. She is so real that the character’s
pain is Collier’s pain. She sings
meanings, not words. She makes us
writhe in suffering, her suffering.
This is a performance which rivals Clevelander Alice Ripley’s amazing
Tony winning Broadway presentation.
Rich McGuigan, who, like the rest of the cast, has a strong
singing voice, is spot on as Dan, Diana’s husband. We experience his frustration in trying to be an
understanding support, but unable to cope with his wife’s obsession with a past
trauma, her reluctance to move on, and his inability to deal with the chaos
around with any action other than emotional blandness.
Hathaway Brown’s Emma Wahl, who appeared on Broadway in CHITTY,
CHITTY BANG BANG, captures the
very essence of Natalie, the daughter caught between the throes of teenage life
and a chaotic home environment.
Pat Miller, as Natalie’s boyfriend, Henry, creates a pot-headed, yet
supportive safe place for the girl to turn.
Ben Donahoo, as Natalie’s brother Gabe, has the difficult
task of creating a character of dual dimensions. He does so with clarity and understanding.
Tim Allen, as several mental health professionals, is quite
believable.
Though Jordon Cooper’s orchestra sometimes goes overboard
and drowns out the musical speeches of the performers, lyrics that are so
important to hear clearly, the musical sounds are well performed and carry the
feelings and moods of the story.
Capsule judgement:
Does NEXT TO NORMAL sound like a downer? The script, and the music, and this production are so well
conceived, that there is no time during the production that the audience is not
compelled to watch with rapt attention.
Lakeland’s production is an absolutely, positive, MUST SEE!
For tickets to the NEXT TO NORMAL which runs through
February 17, and is being staged in Lakeland Community College’s theatre, call
440-525-7134 or to go http://lakelandcc.edu/academic/arts/theatre/index.asp