Next To Normal, Wyndham’s Theatre Review
Jamie Parker and Caissie Levy in Next to Normal. Donmar Warehouse production photography © Marc BrennerWritten by Annie for Theatre and Tonic.
Gifted tickets in return for an honest review.
It’s not often I’m left lost for words, but as I start writing this review the morning after I’m still stuck with how to exactly put everything I feel onto paper. I thought perhaps a sleep to digest and sit with the initial dumbfoundedness would make it easier to start writing, but I still fear I can’t quite do Next to Normal the full justice it deserves.
The highly anticipated return to the London theatre scene, after an award-winning run at the Donmar Warehouse - Next to Normal is no doubt taking the West End by storm. Tom Kitt and Brian Yorkey’s hit rock n roll musical may seem witty and humorous at the surface, but it is a total exploration of the importance and impact of mental health issues. Kitt and Yorkey have created a beautiful score, not only for its biblical-level melodies, but their natural ability to tell a story at such an appropriate level on such heavy themes without making the audience too uncomfortable or lose their engagement.
I think it is worth noting that the show does focus on extremely heavy themes, including suicide, schizophrenia and bipolar - although there were some notices around the theatre highlighting this - if you are particularly sensitive to these topics, it is important to be very aware of it before going to watch the show. However the show deals with these issues so beautifully and treats them with the utmost respect, it is such an important show to be on the West End.
Kitt and Yorkey’s book is a whirlwind of rock n roll strung tunes, and glorious melodies, comprising a wonderfully intricate score which takes you on a full journey. They’ve dealt with themes so carefully and considered the impact not only of the songs to the storyline, but also the individual lyrics to the song and their reaction to the characters. I must admit that I knew many of the songs prior to seeing the show, and they shine as standalone music, but to hear them in context just added so much more depth and meaning. ‘Superboy And The Invisible Girl’ has probably been on my most played list for years, and perhaps ignorantly I never really know its context, so to hear it as part of the show left me in floods of tears. Kitt and Yorkey have created something so special and it is a total masterpiece from start to finish.
It is evident that director Michael Longhurst has fully immersed himself in this show, drawing out as much as he can, and ensuring the cast are as connected to their characters and each other as possible. For a play with such heavy and erratic themes, it feels so incredibly slick and considered, leaving an impeccably tight production.
Cassie Levy, Broadway royalty, leads the show in the titular role of Diana, a mother battling bipolar, amongst other issues, and follows her struggle to cope and its impact on her family. It's no secret Levy is a diamond on stage, and her portrayal of Diana is sensational. You can tell her whole heart has gone into understanding Diana, and her desire to do the character justice. Levy deals with themes with total respect and control, and has the audience hooked from the get go.
Her voice sets her status as a powerhouse throughout, special mention for her renditions of ‘So Anyway’ and ‘The Break’ which just cement her passion and love for this role.
Jamie Parker plays the painfully devoted husband Dan, who sticks by Diana despite the continuous setbacks and pain she’s inflicted on their lives. It is a beautiful take of their relationship and both of their feelings, pain and love is considered throughout. Parker remains stoic despite the pain you can clearly see he feels, and only allows his emotions to break through once he is alone or in fits of anger, quick to recompose himself.
It was so lovely to see that the whole original Donmar cast were transferred to the Wyndham Theatre, and it is evident to see why there was a push for this to happen. Not only do the cast perform so well as a collective, they all fully understand the importance of treating this show and its themes with care, and it is evident they want to care for their characters.
As always, to see rising young talent on a West End stage is always a privilege, and this cast is beaming with rising stars.
Ella Worthington-Cox’s performance of Natalie is exceptional, her character’s journey and growth is handled so considerably. Her voice is divinely strong and she performs with such power.
Jack Wolfe is a fully fledged star already - having picked up a Whatsonstage award for his performance as Gabe earlier this year already, this is one to watch (if you don’t already know). He is the epitome of a tragedy-icon in this role, and his performance almost feels like an out of body experience to witness, most significantly in ‘I’m Alive’, which may just be the best version of that song I’ve heard.
Trevor Dion Nicholas performs as strongly as expected as Dr Madden/Dr Fine. He assists the story wonderfully, and adds an interesting outsider perspective to the insular family units opinions - opening the conversations on mental health and their effects.
Jack Ofrecio as Henry offers again another outsider perspective to the storyline, and gives Natalie glimmers of a happier future. Henry and Natalie are used frequently to mirror the relationship of Diana and Dan, a tragically beautiful nod to what the couple once were, and the risk that perhaps the young couple may face in their future.
Trevor Dion Nicholas in Next to Normal. Donmar Warehouse production image. photo by Marc BrennerNick Barstow leads the band magically. They perform on stage and are shielded by moving curtains which assist the staging. It creates an even more dynamic performance, full of movement and levels - and keeps the music in the forefront, as it is so important to the story.
Chloe Lamford’s set design is well throughout - providing a familiar background of a home, which is easily interchangeable for the external scenes. Despite providing a homely background, it feels eerily clinical - perhaps a nod to Diana’s OCD tendencies, but also to the coldness and unfamiliarity the family feels hangs over their lives. The split level set also provides lots of colour to the show - moments of looming dread and pain are quite literally staged above the characters as they begin to spiral. It is a genius design and adds so much to the already incredible show.
Despite starting this by saying I wasn’t sure I could put down quite how incredible Next to Normal was, I fear now I’ve gone on enough (for now). I’ll close this off by just reiterating that this show is incredibly impactful and thought provoking, and is such an important show for the West End to receive. I don’t think I can say much more than that. I simply adored every second of it, and felt so much in such a short amount of time. How lucky are we to experience these shows, and I can’t wait for many more theatre goers to experience this show's impact.
At Wyndham’s Theatre until 21 September 2024.
★ ★ ★ ★ ★
