Review of the Friday, March 13, 2026 performance at the M&T Bank Exchange at the France-Merrick Performing Arts Center in Baltimore, Maryland. An Iron Crow Theatre production. Starring Allison Bradbury, Danny Bertaux, Brashley Stein, Alexandra Lopez, Jason Zuckerman and Pat Collins. With Kelly Mok, Heather Nicole Reed, Dani Rizzo and Jake Stibbe. Music by Tom Kitt. Book and lyrics by Brian Yorkey. Scenic design and technical direction by Bruce Kapplin. Costume design by Tiffany Zellner. Lighting design by Thomas P. Gardner. Video design by Chris Carcione. Sound design by Zach Sexton. Intimacy direction by Shawna Potter. Musical direction by Michelle Henning. Direction by Natka Bianchini. 2 hours 25 minutes, with one intermission. This production played its final performance on Sunday, March 15, 2026.
Over the weekend, we had the opportunity to experience a couple of theater firsts here in Baltimore. First, we attended the theater in a relatively new venue, the M&T Bank Exchange, a space that was a bank a long time ago, three stories tall, adorned with stunning stained glass windows. Today, it is multi-purpose facility, reconfigurable for everything from fashion shows and weddings to corporate events, and, of course, theatrical productions. (It is attached to Baltimore's Broadway touring house, the France-Merrick Performing Arts Center.) The other first was our first production by the professional theater company, Iron Crow Theatre, Maryland's queer theater company. Their definition of "queer" encompasses a broad spectrum of ideologies, remarkable in its inclusiveness. It was their production of the Pulitzer Prize winning Next to Normal that drew us to this unique group.
While this is not the first local professional production of this show we've seen, it is, unfortunately, the most uneven. Don't get me wrong, here. The fact that they are even attempting this complex piece is admirable. And where it is strong, it is wonderful. But there are a few rather glaring things that take what would otherwise have been amazing down to uncomfortably cringe worthy. First, Natka Bianchini's direction is uneven, with awkward scene transitions that cause a lack of flow, and still other times where side scenes detract from the main action. Yet, there are other times where the staging is inventive and interesting, including the use of a variety of projections and video (designed by Chris Carcione) that offer insight into the thought processes of the struggling main character, and add depth to the ethereal character of Gabe, her son. But then there are moments that feel more community theater than professional - an ensemble (more on them in a minute) employed to fill the stage yet clearly struggling to find their purpose for being there, and little things like having chairs on wheels that the actors lift up to move rather than roll them. Likewise, Tiffany Zellner's costume design lacks any cohesiveness and feel more like last-minute thrift shopping than any sort of character development.
The mixed bag that is the casting is probably the thing that hurt this potentially great production the most. One has to wonder why it was decided to add a four person ensemble to the cast. On paper, I'm sure it seemed like a great way to add to the show - it becomes crystal clear only in the final moments of the last song that all four represent the Goodman family members, when they literally shake hands with each other. In retrospect, there were other hints earlier, though at the time they just felt distracting. Then there's Danny Bertaux, miscast as Dan, the father trying desperately to keep his family together. Slump shouldered and a mostly blank face beyond looking sad when Dan is sad, he carries the tunes of Tom Kitt with little flair, and Brian Yorkey's lyrics with little more than perfunctory expression. That all of the other main characters do so much more than that makes him stick out in all the wrong ways. Brashley Stein, playing the enigmatic Gabe, has a terrific voice, and sings the role very well (his "I'm Alive" is a highlight), and yet his physicality is at odds with his vocal performance. He's more spirit fingers and sweeping gestures than a spirit with controlling gestures. He also looks like he could be Dan's brother than his 17 year old son. To be fair both of the Goodman children look like contemporaries of their parents than their offspring. Finally, there is Pat Collins as doctors Madden and Fine, who might be a perfect Little Shop Mushnik or Seymour, rather than a charismatic "rock star." Still, Collins sings both roles very well and even manages to sprinkle in some lighter, funny bits.
On the considerably brighter side, what there is to recommend here is really outstanding. The small band, led by Michelle Henning, plays this challenging score extremely well, too. Given the sheer size of the space, the sound design could prove difficult, yet Zach Sexton's efforts are laudable, with no balance issues and clarity throughout. Similarly, Thomas P. Gardner's lighting design creates both intimate moments and expansive lighting that somehow includes the audience and makes full effect of the huge space. It also supplements Bruce Kapplin's interesting scenic design which incorporates Carcione's video design. The design elements here are sharp and professional.
The cast also features three real aces. As the lovable stoner Henry, Jason Zuckerman is instantly endearing and carefully crafts a portrait of a loving teen and likely successor to the head of the family years from now. His chemistry with Alexandra Lopez' troubled teen Natalie is palpable from the first seconds they are together. Lopez deftly navigates the complexities of a girl desperately trying to seem detached from her family, yet hungry for their love and attention. What is wonderful about this pair is how they compliment each other is they journey from an oil/water duo to a lovingly dependent couple.
Finally, and most importantly, there is that winning performance of Allison Bradbury as Diana, the central character who struggles with mental disorders - inaccurately diagnosed most of the time - and the overwhelming grief of losing a child. She sings and acts this difficult role with an ease and quality that makes you feel confident that you are actually seeing her go through each trial and tribulation. Her profound sadness and fear of never being a "normal, loving mother" informs every moment of her terrific performance.
Despite its unevenness, I am so glad to have seen this performance of one of my favorite pieces of musical theater, and especially having discovered an important new (to me, anyway) local company. I already look forward to seeing their future productions.
📸: W. Freeman
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