By Peter Thomas Ricci<\/p>\n
When \u201cNext to Normal\u201d debuted on Broadway in 2009, it enjoyed an uncommon level of success \u2013 three Tony awards, the Pulitzer Prize for drama, and numerous re-stagings across the country. And in seeing a fresh production of the musical at Writers Theatre in Glencoe, I was reminded of why the musical was such a hit, and why it continues to attract audiences a decade later: remarkably powerful and uncompromising, the show (music by Tom Kitt, book and lyrics by Brian Yorkey) is one of the fullest realizations I\u2019ve ever seen of Stephen Sondheim\u2019s 1980s innovations, and although Writers\u2019 staging has some flaws, its inventiveness and performers do the show\u2019s legacy proud.<\/p>\n
Set in a prototypical American suburb, \u201cNext to Normal\u201d opens with a scene that is, for most audiences, quite familiar: mother Diana Goodman (Keely Vasquez) sits on the steps of her home, awaiting the early morning arrival of her rebellious son Gabe (Liam Oh); her daughter, the ultra-ambitious, ultra-sassy Natalie (the dynamic Kyrie Courter), awakes early to finish her homework; and her seemingly befuddled husband, Dan (David Schlumpf), checks in on her\u2026and races back to the room when she promises sex. A song (the famous \u201cJust Another Day\u201d) bubbles out of the activities, until something unexpected happens \u2013 Diana, in a fit of hysterics, begins making several ham and cheese sandwiches on the kitchen floor, her motions increasingly hurried, frantic.<\/p>\n
It\u2019s the first introduction of Diana\u2019s mental illness, and over the course of the musical\u2019s two and a half hours, Kitt and Yorkey peel back the layers of Diana\u2019s neuroses with brutal realism, exploring her endless list of medications, her weeks of therapy, and how her illness \u2013 and the tragedy at the center of it \u2013 has been slowly tearing her family apart.<\/p>\n
Clearly, this is a musical with heavy themes on its mind, and David Cromer\u2019s direction handles those many elements with energy and sympathy. A Tony award-winner for \u201cThe Band\u2019s Visit,\u201d Cromer\u2019s touch is most evident in the show\u2019s choreography, and how it complements Regina Garc\u00eda\u2019s dynamic scenic design. Using the vertical nature of the Writers stage to its full potential, Cromer\u2019s actors move up, down, and around the circular area, as Keith Parham\u2019s brilliant lighting brings out unexpected contours and surprises to the material. For a musical as layered and nuanced as this, it is thrilling seeing the staging and choreography intensify the themes.<\/p>\n
The ambitious staging, though, also contributes to the one weakness of this production: the sometimes awkward balance of Andra Velis Simon\u2019s musical direction and Cromer\u2019s actors. Vasquez and Schlumpf are both very capable actors, and they wring an impressive depth of emotion from their characters; they are also, however, relatively thin-voiced, and their singing is often overpowered by the musicians. Furthermore, Cromer\u2019s direction often has the actors spread out across the performing space, and with the musicians then entering that void, it can be difficult making out the intricacies of Yorkey\u2019s lyrics. I\u2019m sure Cromer and his team will find the right audio balance in subsequent performances, but the effect on opening night was occasionally frustrating.<\/p>\n
It\u2019s a small part, though, of a brilliant, daring musical, one that is absolutely worth your time.<\/p>\n
Highly Recommended<\/b><\/p>\n
Playing through June 16 at Writers Theatre, 325 Tudor Court, Glencoe, IL 60022<\/p>\n
Tickets can be purchased at writerstheatre.org, or by calling 847-242-6000<\/p>\n","protected":false},"excerpt":{"rendered":"
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