Next to Normal
Upright Theatre Co.
Reviewed by: Natalie Shaw
I was about twenty-six years old when I sat in my first therapy session, feeling completely out of place. I had no idea why panic attacks had started, but I knew I had to figure out why they were happening. My poor mom admitted to me that her biggest fear was that, somehow, it would all link to something she'd done, or hadn't done for me during my childhood. It's not that she didn't want me to go to therapy, if I needed it. It's just that she was really hoping I'd never need it. To this day, I remember telling her over the phone, "Mom, you did the absolute best you could, and even if something does come up, I know you did the best you knew how to do." And, I still believe that. She did the best she could, and her mother before her did the best she knew how to do, and her mother before her, and so and so. We can't forget that, a lot of us (I would hope, most of us,) are doing the best we know how to do. And, with each new generation, comes better Science, better studies, better treatments and better was of coping. Mental health issues aren't new, but the way we handle them is continuing to make progress. Accepting that we, as a society, have a lot of mental health issues brewing, and ones in many different forms, is the best place to start.
Next to Normal is quite honestly the best title, not just for this musical, but for our generation. It is where we, as a collective culture, stand, and we are grateful that a captivating genre like this can express it so well. In the story-line, we learn that Diana Goodman, (played by Brandy Raper) suffers from Bi-polar disorder and, having lost her son at the tender age of eight months, suffers from Schizophrenia, as well. Her husband, Dan Goodman (played by Jericho Thomas) focuses all his extra attention on helping his wife rehabilitate, while he, in turn, neglects his own well-being. Daughter Natalie Goodman (played by Katelyn Sarbach) is left feeling invisible by both of them, and begins to shape new boundaries for herself with her boyfriend, Henry (played by Nick McGeoy.) Meanwhile, their son Gabe Goodman (played by Levi Skoog) weaves his way in and out of the plot in his own dynamic way. The narrative, not just the music, hits many notes, exploring the ups and downs of life and trying to survive it. There are also beautiful moments of humor through dialogue and song that provide the audience with a chance to release some nervous tension in a safe space around such topics as self-harm, death and suicide.
A sense of pride comes over me when I consider that Diana is knee-deep in the weeds on her journey to find healing, but what she is leaving behind is a trail, more flattened for her daughter, Natalie. It is a trail that shows a more clear horizon for the young sixteen year old, a guide that will allow her more room to find the restoration that she will likely, also seek to find. Despite what we know about Natalie feeling invisible to her parents, (which at times is evident,) tender moments between Raper and Sarbach suggest a deep understanding of each character and the relationship that they share. Although each character is focused on her inner struggle, they reach a point where they are both willing to sacrifice their personal desires for the needs of the other. In a delicate scene, between mother and daughter, Natalie stands before her mother, ready to go to a dance with Henry. Sarbach soothes and softens her mother, ironically, with a maternal touch, as a gentle caregiver would. She loyally asserts that she will forgo the dance in order to stay and care for her mother, while Diana insists she escort her daughter to the dance, determined not to ruin a lovely memory. Here, Raper's motivation, seems to be a desire for trust to be established between them. As if to truly communicate to Natalie that she is okay and that they will both be all right, Diana carefully removes her daughter's coat, to reveal a polished Natalie wearing an angelic blue dress.
Hanging on to hope is husband and father, Dan Goodman. I don't think it's bewildering to notice that playwright Brian Yorkey utilizes the last name "Goodman" deliberately, especially in reference to Dan's character. He is quite simply a good man. He is also a man who, I presume, is exhausted, but keeps trying, all because of a promise that he made to stand by her side many years ago. In the songs, "Why Stay" and "A Promise," Dan reveals to Diana that he chooses to stay, every day, for her, because he loves her and he's utterly committed to her. Over and over again, we watch as Dan sacrifices every ounce of himself, managing every step; moving forward without looking back, all in an attempt to keep his wife alive. However, in his desperate attempt to move forward, he is also suppressing the memory of his son, which threatens the quality of his own life. In his duet, "I am the One " with Levi Skoog, Jericho Thomas makes the final discovery that he, too, needs help coping with the loss of his son, as well as the burdens he's carried for many years. Discoveries like these are precious in story telling and performing. Thomas invests concentrated time, making precise choices with his character, allowing us to see his thought-process and then revealing it, as if for the first time. These revelations, through his character speak a message of hope! There is hope in continuing the fight. There is hope for a break-through; a breaking out that has been so longed for and has finally arrived.
On a technical note, I want to take the time to salute the production team and crew, particularly in the area of sound. If I'm being honest, I half-way anticipated the sound of the production to be tremendously overwhelming. The studio theater space at Upright is a charming, quaint lounge-style area, and in most musicals, microphones are used to pick up the singing voices of the performers. Microphones in a small space can have a resonating effect that bounces off the walls and can be rather uncomfortable to have to listen to during a two hour production. I have, on occasion, gone home with a migraine after experiencing this. But, I was pleasantly surprised! Firstly, I will admit that I am not a technical theater expert in any way, but I can obviously recognize when something is out of sorts. I must commend Director Natalie Burkhart and Mic Operator Mary Ridenour for the appropriate adjustments they must've made for their space. It was delightful to hear the production with clarity and comfort.
Next to Normal is eye-opening and compelling, painting a world that many of us reside in and allowing us to feel safely recognized in this familiar environment. It shines a light of the hope we are all pursuing when battling the mental illnesses we, or someone we love, faces each day. Upright Theatre Co. takes a courageous step in opening the floor for issues like this to be accepted and discussed, and I am so proud that they have! Find ticket information for this production, and any of their wonderful productions at uprighttheatre.org.
Audience Rating: R, for mature content and strong language
Accessible Seating: Available
Hearing Devices: Available
Sound Level: Comfortable
Sensory Friendly Performance: Not Available
Noises and Visuals to Prepare For: Flashing Lights, Gauze wrapped around Diana's wrist (trigger warning for those who may need it.)
Y'all Enjoy!
Natalie Shaw
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