By Dayton and Sarah Minor
Next to Normal at On Pitch Performing Arts (OPPA) follows the story of Diana Goodman and family on their journey as they deal with Diana’s bipolar disorder. Set to an energetic pop rock score, this musical explores many issues surrounding mental health, including trauma, loss, suicide, family dynamics and mental health treatment. The show features a small cast with powerhouse vocals that give the viewer an intimate view into their story.
Next to Normal (book and lyrics by Brian Yorkey and music by Tom Kitt) got its start as a short workshop sketch in the late 90s and grew into a full Broadway musical by 2009. This is not the first time it has been performed in Utah, but it isn’t done very often.
The smaller theater in the round stage at OPPA provides the perfect venue for Next to Normal. Patrons will find ample parking and a large gift shop with plenty of goodies to enjoy during the show. The theater does have more than one entrance but look for the largest one on the south-west corner of the building when you arrive.
Next to Normal features just six cast members and is double cast—I saw the Monday/Friday cast. Each person brings their well-developed, in depth characters to the stage to tell this impactful story. Mindi Hansen nails the complexities of Diana as she struggles through the various stages and treatments of her mental illness. The subtle changes she brings from scene to scene and moment to moment are fine-tuned and paint a masterful picture of the character for the audience. Nathan Sachs (Dan) gives a deeply emotional and relatable performance of the spouse; his care and love for his wife are palpable. Jacob Erickson (Gabe) gives a high-energy performance and interacts dynamically with each of the family members. Heather Jackson (Natalie) provides the perfect roller coaster of emotions and experiences for her character’s story of an adolescent girl coming of age. Logan Kelly (Henry) is that awkward high school boy struggling with the confidence to just talk to the girl he likes. Jackson and Kelly play well off each other as their relationship develops. Jake Oaklyn (Dr. Fine/Madden) gives a dynamic performance, switching flawlessly between the medical professional and Diana’s perception of him; he even touches the emotional aspects of serving those with mental illness.
At the intersection of all these performances is the common vision of director Todd Taylor, who orchestrates a dramatic symphony that blends the line between reality and delusion for both the audience and the characters.
One challenge with theatre-in-the-round can be obscuring the audience’s view, but Heather Pousen’s set design provides just enough of a set to give a simple, versatile backdrop to the story without getting in the way. Much of the set is framed so the audience knows the boundaries of rooms and doors but no one’s view is obstructed. The set pieces that move in and out were minimal but effective and serve many different purposes. There isn’t a bad seat in the house!
From the baloney sandwiches to the classically set table where the father meets his daughter’s boyfriend, Chip Castleton (props design) was on point. The chaotic “morning rush” to get to school/work, the timelessly awkward “boyfriend meeting the father,” or the tender scene of looking through the memory box are all distinct things that come to life from the same room thanks to Castelton’s props. And the pills! How would we discuss mental illness without the pills!? Pills and pill containers of various shapes and sizes illustrate just how big a role pharmaceuticals play in our mental health today.
Music director Quesley Soto masterfully brings together the fantastic vocals of all cast members in a variety of musical harmonies, ranging from the traditional to the chaotic. Music adds so much depth to this story, and Soto’s direction allows the cast to effectively tell their story through music. Kace Barthlome’s light design effectively divides the stage when multiple scenes occur at the same time and heightens the emotion in the scenes. Because this is a modern musical, the costumes might at first glance appear simple. But designer Kennedy Miller brilliantly used the costumes to make obvious cues, like identifying the medical professionals, signal character growth, like the visual representation of Diana’s transformation over time, and leave subtle hints, like the deliberately dating Gabe’s outfit.
The show is considered Rated R for language and situations which may not be suitable for all audiences.
Don’t miss your chance to see Next to Normal live at OPPA. Musicals are special because the live performances bring the stories and emotions to life in a way motion pictures often cannot. We really enjoyed this performance of Next to Normal. It is an important and timely piece for today, full of moving and thought-provoking themes that will leave you with greater understanding and compassion. Next to Normal is more than just an enjoyable night out at the theater; it is a show that stays with you, and one that you’ll be thinking and talking about for days to come.
On Pitch Performing Arts presents Next to Normal, music by Tom Kitt, book and lyrics by Brian Yorkey.
On Pitch Performing Arts, 587 N Main St, Layton, UT 84041
September 12 to October 5 2024 (Monday, Thursday, Friday, Saturday) 7:30 PM, matinee 2 PM (October 5).
Tickets Adults $17.50, Students $15.50, Senior/Military $14.50
http://www.onpitchperformingarts.com/tickets2.html
(385) 209-1557 info@onpitchperformingarts.com
www.onpitchperformingarts.com
https://www.facebook.com/onpitchperformingarts
https://www.facebook.com/events/497037573219285/
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