Review: PBS Great Performances: Next to Normal

Review of the PBS Great Performances presentation which aired on Friday, May 9, 2025. Filmed at Wyndham's Theatre in September 2024. Originally produced by Donmar Warehouse. Starring Caissie Levy, Jamie Parker, Jack Wolfe, Eleanor Worthington-Cox, Trevor Dion Nicholas and Jack Ofrecio. Book and lyrics by Brian Yorkey. Music by Tom Kitt. Set and costume design by Chloe Lamford. Lighting design by Lee Curran. Video design by Tal Rosner. Sound design by Tony Gayle. Musical supervision by Nigel Lilley. Movement, choreography and additional direction by Ann Yee. Directed by Michael Longhurst. 2 hours 10 minutes. NOTE: This is streaming on PBS's site through 6/30/25.

Like many of you reading this, I was glued to my television, captivated by the acclaimed West End production of Next to Normal, which aired on PBS' Great Performances. Full disclosure, I guess, this musical is one of my all time all-time favorites. I've seen it more than a dozen times, on Broadway and in regional theaters around the East Coast. Having done that, I was accustomed to seeing the piece staged differently from its iconic New York production, and so it wasn't a shock that this version didn't look like Broadway. What was a shock - at least initially - was just how amazing this was. I wasn't prepared for the emotional ride this brilliant company took me on. Looking back, it shouldn't have been such a shock; the cast is made up of some of the modern theater's most amazing performers.

From the outset, it was apparent that meticulous care was taken to present this as theatrically as possible within the parameters of a film medium. Broad shots felt like you were seated right in the theater; close-ups and unique angles made it feel like a very personal experience. All of the credit for that goes to director Michael Longhurst, who takes us on a seamless ride through suburban home life and the crazy journey inside the mind of a woman suffering on many levels, not the least of which is crippling bipolar disorder. The result is breathless/breathtaking storytelling that is highly entertaining and riveting. The design team (Chloe Lamford, sets/costumes; Lee Curran, lighting; Tal Resnor, video; Tony Gayle, sound) has created a contemporary home that evolves as the story does, with multiple playing levels and a sharp use of a turntable and a center island that functions as a kitchen, sanctuary and a barrier for all who need it. The upper level, which houses the terrific band, serves a multitude of purposes (most notably as a trap of sorts for the ethereal son). Together, the production team has created the perfect space for this rock musical to thrive while remaining grounded.

Top to bottom, this ensemble cast is perfection, and dare I say it, the very best company I've seen perform it. I mean no disrespect to the original and subsequent Broadway companies, and I never thought I'd say it, but there it is.

Jack Ofrecio, with his boyish face and rugby lad physique, brings a simultaneously teddy bear sweetness and pillar of strength feeling to the role of Henry. As Natalie's new boyfriend, he is the outsider that we are. He sees what we see: a pretty wholesome looking family who suffers from a chaos only seen from inside the house. His performance offers it all - humor, concern, and a palpable need to help. The other outsiders see the situation from inside the mental health aspects, in the form of two doctors, cleverly named Dr. Fine and Dr. Madden, and both played by Trevor Dion Nicholas, whose gorgeous voice is full of calm and frustration (sometimes at the same time). He really is a presence - I felt like I had never really seen either of these characters before until now.

In that same vein, I really have been underestimating just how central the character of the nearly forgotten daughter, Natalie, is to driving this story. Again, no disrespect to the original (an amazing Jennifer Damiano), but Eleanor Worthington-Cox is simply next level. She wrings every bit of angst, fear, self-loathing and survivalist emotion out of the role, but always in an organic, natural feeling way. Every tear she sheds (and there are many) is both earned and justified. And her voice is magnificent. I get chills just thinking of her tearing into "Superboy and the Invisible Girl." Just as different from the original (Aaron Tveit) and just as brilliant is award-winner Jack Wolfe's enigmatic portrayal of Gabe. Here he is both victim and villain, cloaked behind a facade of boyish charm, which he uses to manipulate and survive. He is, indeed the embodiment of the perfect 2020s mother's ideal son. Both Worthington-Cox and Wolfe are such brilliant performers, one can only see continued massive success to already striking careers. (Please come stateside!) 

Though I'm not at all surprised at Jamie Parker's acting - He was terrific in Cursed Child and The History Boys - I wasn't prepared for his singing voice, which is really quite good, with the perfect balance of finesse and characterization. As Dan, the beleaguered and terrified husband, it is heartbreaking to watch him navigate the impossibility of taking care of his wife, his family, and as an afterthought, himself. As an actor, he is a great match for his co-star; he holds his own in a fascinating battle for survival. 

That co-star is the always captivating Caissie Levy who continues her never broken, always climbing streak of brilliant performances. Can this really be the woman I discovered in Hair? Her Diana is an unflinching character study, and there are no dark corners she seems to avoid. How she did this 8 times a week must be studied. In a way, I'm glad I got to see this as a filmed performance, as I am pretty sure had I seen this live, I'd have missed almost everything else for not being able to take my eyes off of her. I've always been a fan of everything she does, so maybe I'm biased. But it takes a lot for me to say that I think she was better than my two previous favorites in the role, Alice Ripley and Marin Mazzie. Brava!

Following the main feature, there was a mini-documentary called "Behind the Curtain," in which director Longhurst discusses the genesis of this production. He made two resonating points: one, he hadn't seen the original and was given full freedom to make it what he felt it needed to be some 15 years after the original, and two, he stressed the importance of getting this right so that it honored the experience in the theater while bringing the very best of it to audiences that couldn't get there to see it. He makes a very compelling case for pro-shots and delivering them to the masses. With this kind of result, how could anyone argue with that? I'm so thankful.

📸: M. Brenner