author: Leonard Taube
Do you know what it’s like to die alive? That may be a heavy question, but it’s one that Diana asks and sets the stage for an evening of intense, raw, gut-wrenching drama. Iron Crow Theatre’s production of Next to Normal opened at the beautiful M&T Bank Exchange this evening to a large house and more than a few wet eyes. You simply cannot be unmoved by its subject matter and, for those who have suffered (or know people who have suffered) from mental illness, suicide, depression and drug abuse it may hit a tad too close to home but is nevertheless a definite must-see for anyone who appreciates and supports good theatre.
A 2008 American rock musical, the book and lyrics are by Brian Yorkey and music was written by Tom Kitt. The story centers on a mother who struggles with worsening bipolar disorder and the effects that managing her illness has on her family. In addition to the aforementioned maladies, the story also touches on ethics in modern psychiatry and what lies below the surface of suburban life. The musical opened on Broadway in 2009 and was nominated for eleven Tony Awards that year and won three including Best Performance by a Leading Actress in a Musical for Alice Ripley (of Sideshow fame). It also won the 2010 Pulitzer Prize for Drama, becoming the eighth musical in history to receive the honor. The Broadway production closed in January of 2011 after 20 previews and 734 regular performances.
The set (Bruce Kapplin) is simple, including a staircase leading up to a raised platform that serves as locale for several scenes including a bedroom as well as performing arts space (for Natalie’s recital). Lighting (Thomas P. Gardner) and Sound (Zach Sexton) are top notch, and kudos must be given for the many projections (Chris Carcione) used during the show to highlight the scene being played, whether it’s just imagery or pre-recorded videos of cast members going through movement. Having never seen the original on Broadway, and not knowing if such projections were used, I can say that they were so good in this production that it should be standard if the performance venue can accommodate. They not only add depth to certain scenes but also serve to showcase the inner workings of the character’s mind(s). Costumes (Tiffany Zellner) were basic and character appropriate.
The pit (band) is comprised of 6 talented musicians (Michelle Henning- keys, Jamie Williams- guitar, Jared Davis- bass, Brett Schatz- drums, Ryan Andrews-violin, Peter Kibbe- cello) who produce sound that is incredible, and thanks to some proficient sound design you could hear and feel the music that is meant to be played loud (hey, it’s a rock musical after all) but did not drown out the voices. Lyrics were clear and understandable.
Director Natka Bianchini has put together, quite simply, a stellar cast including 6 principals and 4 ensemble members who are billed in the program as “Voices/Others” and lend their incredible vocals and acting skills to several scenes. Bianchini obviously gets the show and channels her vision through the actors to bring some admittedly dark subjects to the light of the stage. Music Director Michelle Henning coaxes the best out of the cast and rest assured you will hear vocals that teeter from soft and light to powerful and strong.
Diana (Allison Bradbury), who I mentioned in the intro to this review, is the mother who is the center of the show. Played sometimes playful and flirty and other times with fierce intensity, Bradbury has a powerhouse of a voice and she will make you feel the emotions of someone going through the various facets of mental illness while simply wanting to just feel better. Her song “I Miss the Mountains” will leave you speechless.
Dan (Danny Bertaux) is Diana’s husband. Having had the pleasure of reviewing Danny previously in such shows as Freaky Friday (Adam) and seeing him perform in Guys & Dolls (Sky Masterson), he has most definitely grown as a performer. His voice is deep and stirring and his portrayal of the husband who just wants things to be normal and his wife to feel better is palpable. Bertaux has his own moments where his acting (as well as vocal) chops shine (“It’s Gonna be Good” and “I Am the One (Reprise”). Anyone who has ever been in the role of spouse or caregiver of someone going through such difficult times will relate due to Bertaux’s fierce sense of caring and feeling of responsibility as the man of the house who has to keep things together.
Perhaps the one character that is most central in the show is that of Gabe (Brashley Stein), the teenage son of Diana and Dan. The role is not only emotional for audiences but serves a vital purpose in showcasing how those suffering from mental illness interact and converse with the world around them. The interplay between Diana and Gabe, which is woven throughout the show, reminds me heavily of the film A Beautiful Mind where the lead character is a schizophrenic and the audience sees things through his eyes for the first part of the film, only to realize this is the vantage point that they’re being presented with later. In Next to Normal, however, the audience knows this early on and watches how such a thing can affect someone’s state of mind and have a direct impact on their actions. It’s an important role for the show’s plot and Stein captures the essence of the teenage son with body, song and expressions all complimented by some masterful previously filmed projections. His signature song “I’m Alive” will stir your soul.
Natalie (Alexandra Lopez) is Diana & Dan’s teenage daughter, caught between the usual teenage angsts and torn apart by her mother’s declining mental state. Her outbursts at both Diana and Dan are understandable as she just wants to be seen and appreciated for whom she is rather than being overshadowed by someone else (“Superboy and the Invisible Girl”). Her relationship with Henry (see next paragraph) is just what the doctor ordered and, although the relationship is fraught with dysfunctionality at times, it works as a foil to what is going on with Diana and brings the plight of the teen who wants a “normal” family life to shining brilliance. Lopez, too, has quite the voice but more so than that, she knows how to tell a story with that voice. This is what endears her to audiences.
As mentioned above, Henry (Jason Zuckerman) is the “stoner” who is captivated by Natalie and eventually succeeds in capturing her heart. By now it should be known that all the cast are gifted vocally, and Zuckerman is no exception. He plays his part with heart and soul and never wavers from his commitment to winning and keeping Natalie. Henry serves as a grounding force for Natalie, which she so desperately needs, and Zuckerman brings this character to life with old-fashioned love, acceptance and just being there for his girl.
Drugs anyone? More specifically, psychotropic drugs? Mental health counseling anyone? Hypnosis? Electro-Shock Therapy? The two mental health professionals in the show (Dr. Fine and Dr. Madden) are played with medicinal and therapeutic professionalism by Pat Collins. First, a doctor who seems to want to control everything by medication, and lots of them, to a rock star (at least in Diana’s mind) of a doctor who believes in getting to the root of the problem and going from there, even if the techniques seem a bit strange to some of us. Collins brings both doctors to life, and I guarantee anyone who has ever been through the things Diana is going through, or knows someone who has, will be more than familiar with both mindsets and practices and one might even question one or both of them. The relationship between Dr. Madden and Diana/Dan is explored more in Act 2 in both acting scenes and musical numbers (“Seconds and Years” and a couple of reprises). Collins is sincere and takes Diana’s case seriously, as only Dr. Madden would, and it makes for some interesting exposition into someone who, as stated previously, simply wants to feel better.
The “Voices/Others” ensemble, Kelly Mok, Heather Nicole Reed, Dani Rizzo and Jake Stibbe, lend both their voices and their presence throughout the show in various and sundry ways that are both comical at times and jarring at others. But don’t mistake them for your run-of-the-mill ensemble. Each is an actor/singer of the highest caliber, and their talent fills quite an important role in moving the plot along.
There are many good reasons to come check out Iron Crow Theatre’s production of Next to Normal. First, this is not a show that is typically done much, and we haven’t seen such a production in recent memory. Second, it won both Tony Awards and Pulitzer Prizes. Lastly, it’s performed by Baltimore’s self-described world-class queer theatre established in our own hometown of Baltimore. Just understand that you are not seeing Mary Poppins. This is theatre incarnate. Good intense drama designed to stir your senses, maneuver your mind and take you a bit out of your comfort zone. But don’t dally. The show only runs at the majestic M&T Bank Exchange through March 15th 2026.
Running Time: Approximately 2 hours and 20 minutes with one intermission
Next To Normal plays through March 15th 2026 with Iron Crow Theatre at the M&T Bank Exchange— 401 West Fayette Street in the Bromo Arts District of Baltimore, MD. Tickets are available in advance online.
