Next To Normal

Full disclosure, I reviewed Newcastle Theatre Company’s “NSW debut” production of this show for Stage Whispers 12 years ago, and while I remember being impressed by the dynamic score and challenging subject matter, my review was fixated on how the venue and stage design let the production down: https://www.stagewhispers.com.au/reviews/next-normal-2

For the uninitiated, this show is popularly described as a ‘rock musical about a family struggling with the mother’s mental illness’. It was therefore a perfect choice for Black Box Theatre Co - who have vowed to focus on thought-provoking material. Speaking of which, last winter, while on a trip to Launceston ahead of moving here, I reviewed their very first production - Spring Awakening - and while impressed by the talent on stage, I felt the cavernous church venue was working against them. So, bear with me while I gush about the set design for this production of Normal, because make no mistake - if you’re going to attempt this truly chaotic libretto, you need a space that aesthetically supports and enhances the overwrought narrative.

Having seen several different productions using multiple stage configurations in The Earl's comparatively small space, I was genuinely taken aback with the thoughtfully imagined stage design for this show. With the musicians, on an elevated (but fully visible) level upstage, above an all-white stage, framed by white asymmetrical set pieces, it both maximised the space and provided an evocative, yet surprisingly spacious playground for all the frenetic scene changes/overlaps. 

This also enhanced director Lauchlin Hansen’s firm ‘stand and deliver’ placement for most of his cast's solo vocal performances. At the same time, the levels provided literal ‘jumping off’ points to accentuate moods of agitation/delusion/isolation when called for. It also played really well with the dynamic array of lighting cues. No nits to pick!

Which brings me to the performances. Dani Barnett’s versatile vocals matched her disciplined, nuanced performance in the pivotal, aforementioned role of ‘disturbed mum’, Diana. This emotionally juicy, but also comedic part, can either highlight a performer's weak spots or showcase their versatility. In Dani’s case, it was resoundingly the latter. Her connection to the audience, her scene partners and her songs, were truly affecting. 

Similarly, Nathan Wheldon brought great stage presence to the Dutiful Dad role in navigating a similar emotional spectrum. His quieter, more sensitive moments were enhanced by some velvety vocals. 

Leading the younger cast, Charlotte Wickham exuded groundedness and focus beyond her years in her role as Natalie, the high-spirited, neglected daughter. As her adoring boyfriend Henry, Isaac Leslie gave a nice balance of strength, empathy and vulnerability to what might otherwise have been a wishy-washy character.

[By the way, knowing what we all know now about mental illness and grief...and the fallout on families; this cute young couple's flagrantly co-dependent dynamic is desperately calling for someone to write a next gen sequel if you ask me.] 

Rounding out the 'breathing' characters, Alexander Wells made the most of his dual Dr roles - embodying both of his characters’ alternating sober and eccentric personalities with aplomb.

Eighteen-year-old Bailey Landeg had a formidable task to personify the literal 'elephant in the room' character: Diana's long-deceased son Gabe. It would have been so interesting to workshop a character that's completely open to interpretation. He's literally a projection of his family's grief and suffering. To his credit, Bailey's version of the metaphysical vessel he represented was quietly mesmerising without going over the top or pulling too much focus when it wasn't appropriate. 

It would be remiss not to mention the four-person ensemble playing a ‘dancing greek chorus’ of sorts. Also dressed all in white, they appeared intermittently to personify and amplify Diana’s mood swings - either by intimately infiltrating her personal space, or circling her in more sharp perfunctory movements...or also pop up mischievously in the background, in a clever display of interpretive choreography. They also provided nice background harmonies.

With talented, experienced musicians being guided by MD Travis Hennessy’s confident rock sensibilities, kudos for this slick production is apportioned to the sum of every single one of its parts, as it has clearly been a labour of love for all concerned.

Very keen to see what envelope-pushing production Black Box chooses to tackle next.

Rose Cooper