Review: NEXT TO NORMAL at CAP Merrick

Prior to Tom Kitt and Brian Yorkey’s NEXT TO NORMAL, few musicals covered the topic of grieving a child, and none covered the topic of bipolar disorder. Directed by Tony Frangipane, the production is meticulously done, and every acting choice is specific and in the moment, one of many trademarks of a Frangipane directed piece. Serving as Assistant Directors and Co-Stage Managers, Diane Marmann and Jared Glazer take equal care to ensure that this story is given a proper time in the light. NEXT TO NORMAL has a deceitfully difficult score, with many of the actors singing background vocals if they’re not leading the number. Under the baton of Musical Director Shiloh Bennett, the cast has a sound that rivals the original Broadway production, a trademark of any musical with Bennett at the helm. The lighting, co-designed by Tony Frangipane and Joshua Amy, the environment is clearly established, and it flourishes with each passing moment, leaving the audience enveloped in the shows universe by the end. 

The role of “Diana Goodman” is no easy journey, and two Long Island Theatre staples shine brighter than ever in this production. The term perfect is not lightly thrown around, and Maggie Robinson and Taneisha Corbin are perfect for this role. Both Robinson and Corbin have poured their hearts and souls into this character, delivering different performances night after night, neither deliver the same performance twice. Robinson is masterclass, living truthfully with each breath that she takes as “Diana.” Her heart and sincerity are evident, even in the moments of the characters high energy hysteria. A highlight to watch out for is “Didn’t I See This Movie.” Corbin is smashing, wearing her soul on her sleeve. The truthfulness and heart Corbin brings to her portrayal will have you understanding this complex character before you even realize. A highlight to keep an eye out for is “How Could I Ever Forget.” Both actors have vocals that pierce the heart and rattle the rafters. 

Shiloh Bennett and Jonathan Hordos share the role of “Dan Goodman.” Both Bennett and Hordos have a natural, gentle intensity that they bring to the part. Bennett brings “Dan” to life with ease, navigating the light and dark parts of the character with unwavering fervency and strength. His “Dan” is someone to watch throughout the play in moments when he is not speaking, as he says so much in his moments of contemplative silence. A highlight of his performance was “I’ve Been.” You have to see it for yourself. Hordos’ take on “Dan” can only be described as a ticking time bomb, having moments of desperately trying to hold it together for his family, and having his own moments of explosive emotion. A highlight to watch out for is at the very end, where Hordos’ sincerity is undeniable. Both actors are prime examples of how to tackle tough moments while taking an extra moment to be cognizant of how it’s effecting their fellow actors. 

In the role of “Natalie Goodman” are three powerhouses, Jess Bond, Laila Canelo and Madelynn Lang. Jess Bond is tailor made for the role of “Natalie,” displaying how an actor can create something powerful by simply living in the moment. Bond’s passion for the piece is evident, as she brings electrifying vocals to the table. Laila Canelo soars with her signature chameleonic performing abilities. The role is no easy feat, and Canelo’s voice ebbs and flows, making “Natalie’s” songs some of the best parts of the performance. Lang took an intricate approach to “Natalie,” having the audience on her side almost instantly. Lang’s voice cuts through the air and soars across this score. 

Aidan Schroh and Jermaine S. Carroll share the role of “Gabe Goodman.” Both actors possess otherworldly vocals, easily navigating a score feared by many. Schroh connects easily to each of his cast-mates- despite only “Diana” being the only character to look at him throughout most of the performance. Carroll commands the space with a quiet mystery, leaving the audience on the edges of their seats with every entrance he makes. 

Appearing as the pretentious stoner himself, Joshua Amy, Scott Wysocki and Danny Bae rotate in the role of “Henry.” Amy carries a pure spirit, of a “Henry” that wants to have a good time, but soon learns to step up to help “Natalie” navigate her difficult life. Wysocki is smart in his acting choices, giving us a “Henry” that is extraordinary, but relatable. Bae brings the audience to a unique understanding of what it means to carry love for all, no matter their circumstances. 

Sarah Berger and Shea McMahon rotate in the role of “Dr. Fine/Dr. Madden.” McMahon and Berger are the quintessential actors for these roles, seemingly swearing by the fact that acting is living truthfully within your given circumstances. Berger brings a calming presence, while also jumping back and forth between being a “scary rock star,” very clearly having done the work to understand her character. McMahon has the ability to connect to any actor, and their chameleonic acting abilities makes them delightfully relatable to nearly every walk of life.

One thing that ties all of these actors together, is that while opening their hearts to you, they hold up a metaphorical mirror to the audience. So few musicals these days ask you as the audience member to truly look inside yourself. Having had the pleasure of seeing this show a few times to see the whole cast, it’s safe to say that there is no other night out at the theatre that is quite like it. There never was a production at all like this one, and when the run concludes on July 28, there never will be again. It’s that good. See the show with each cast member, it proves that with the same script and same direction, not one performance is the same. Everyone in this cast pulls their characters from a true place. Theatre such as that is rare these days. Not all productions carry the same amount of heart. 

Get your tickets- you won’t regret it. 

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