In 2010, “Next to Normal” became the eighth musical in
history to receive the Pulitzer Prize for Drama. A Pulitzer for a rock musical,
no less, a genre typically reserved for “American Idol” rejects and revues
featuring the greatest hits of now-elderly musicians. But “Next to Normal,” which
Pittsford Musicals opened last Friday, has achieved something far more
important than ticket sales: it’s contributed to increased awareness and
education about mental illness.
Because of
the subject matter, “Next to Normal” is not an easy show to watch. For anyone
who has been affected by mental illness, there will be reminders of that pain
throughout the story — a verklempt ride underscored
by guitar riffs, sarcastic quips and occasional light humor. Yet somehow a rock
musical about mental illness is just the spoonful of sugar needed for audiences
to digest a socially stigmatic issue that’s often hidden away and associated
with shame.
“Next to
Normal” — featuring music by Tom Kitt and book and
lyrics by Brian Yorkey — follows a suburban family
dealing with the effects of mental illness as the mother, Diana, suffers from a
crippling bipolar disorder. Themes of loss, drug abuse, psychiatric ethics and
treatments, and love are all touched upon in ways that resonate powerfully with
audiences (when “Next to Normal” played at Geva
Theatre Center in early 2013, it sold out so many shows that the run was
extended). There isn’t much more that can be said about the plot without the
risk of spoilers, so simply watch closely for pivotal moments and clues. “Next
to Normal” takes only one moment to keep the action hurtling forward — on
Friday, the biggest plot twist created a ripple of gasps and murmurs through
the audience.
With a six-member
cast, “Next to Normal” is meant to be an ensemble show. Each character has
their time to shine, due in part to an equally distributed, gripping score and
narrative lyrics. The stunningly talented Emily Putnam, who local audiences may
remember from Kate Royal’s recent play “Mammoth” at MuCCC,
portrays Diana. Putnam is a young woman playing a character twice her age, but
she’s absolutely riveting as a mother, wife, and mentally ill patient. Her
vocal (and character) ranges make her a dream in this role, though her voice is
stronger on the lyrical ballads than the rock riffs.
Putnam is
matched perfectly by Sydney Howard, who plays Natalie, the daughter. Howard is
a force onstage, capturing both the hope and helplessness her character
grapples with, and her clear voice soars during each number. The ladies steal a
large part of the show, though they are admirably supported by Scott Shutts (Dan, Diana’s husband), Justin Borak
(Henry, Natalie’s love interest), Matthew Edward (Gabe, the son), and J. Daniel
Lauritzson (Doctor Madden and Doctor Fine).
The character development in this
production is remarkable, which reflects well on artistic director Lindsay
Warren Baker. (It should be no surprise coming from Baker — a show she penned, “Jane
Austen’s Pride and Prejudice, A Musical,” was an audience favorite at the 2014
New York Musical Theatre Festival and premiered in La Mirada, California, this
past April.) Emotions are raw and real for the entire two-hour run.
The costume
design by Tanya Komorowski is a subtle delight. Komorowski has the challenge of making contemporary clothing
interesting, and she succeeds by creating an underlying layer of metaphor
through colors. Each costume seems to take on an identity, creating a subplot
for the already complex storyline. Lighting designer Chris McCormack
accentuates the plot with color as well, dowsing the screen behind the set in
bright reds and soft violets. The set, a shell of a suburban house that
suggests upper middle class status, creates a visual for the emotional
separation of the characters. Dave Fisher’s beautiful minimalist design also
allows for Baker to implement well-calculated staging and gives the audience
something to focus on when choreography is understated during musical numbers.
It also cloaks — but doesn’t hide — the phenomenal six-person band onstage,
conducted by music director Julie Covach.
There were a
few songs, mostly the rock numbers, where it was difficult to hear the
vocalists clearly over the guitars and drums — but overall, the message of “Next
to Normal” leaves a larger impression than technical difficulties ever could.
Pittsford
Musicals could have chosen any other show: something happier, something with a
bigger cast, something with universal name recognition that would sell tickets.
The fact that they chose “Next to Normal” is a big deal, and one that deserves
attention. If community theatre exists to bring art to the masses, why should
it not also bring thought-provoking, vital messages? Sounds a lot like the goal
of good art.
EDITOR’S NOTE: The caption to this story’s photo has been corrected. Scott Shutts is the actor at the bottom right of the photo.
This article appears in Jun 17-23, 2015.
