Review: NEXT TO NORMAL at Lørenskog Hus – Still Abnormally Heartbreaking

"Next to Normal", written by Brian Yorkey and Tom Kitt, is one of the rare musicals not based on previous material. In the age where next to everything is either based on a movie, or modernized versions of plays it is refreshing that original works of musical theatre sees the light of day. "Next to Normal" started out as a short 10 minute musical sketch called "Feeling Electric" back in 1998 about a woman undergoing electroshock therapy. It was a rock piece highly critical of the medical treatment. It was further developed several workshops during the next ten years, before it was presented as "Next to Normal" Off-Broadway in 2008. It was reshaped even further before opening a year later on Broadway.

When "Next to Normal" premiered in Norway back in 2010 it was the very first production to open after the original on Broadway a year and half prior. It was not a replica production, but mimicked it in a lot of ways. It had the three floor structure, endless amount of lightbulbs in the ceilings. This revival, that opened at Lørenskog Hus last Friday, is anything but a replica.

Where there once was flashy lights and massive set design there is now a living room with blinders that cover the entire backwall of the stage. There are matching, modern furniture pieces neatly placed on each side, and a table with four chairs in the center. There is also piano next to it (that has been given a slightly altered role in this production). As the six piece orchestra starts to play it is evident that this will be a different take on the story of Diana who is struggling with bipolar disorder, and how this affects those closest around her. The rock n' roll feeling of the show has been subdued to fit this more intimate incarnation. In some places the orchestrations have been totally re-written and, for this version, it really makes a difference. Like at the beginning of Diana's outburst in the first verse of "You Don't know" it's just a couple of notes... then a few more (acting like her pulse). the song is one big crescendo only reaching maximum volume during the final verse, and it is refreshing. Other aspects that have been changed is the direction, which much more abstract than I've seen before, with the cast often being on stage when the focus is on a different character. It took some time getting used to, but after I while I was, once again, invested in every characters journey.

The performer that holds this piece together, and who is worth the ticket price alone, is Solveig Andsnes as Diana. It is obvious that she knows her character inside and out, and every acting choice and how she chooses to emphasize certain phrases when she sings is proof of that. She is not afraid to dig into Diana's complicated psyche. Her voice is strong, and sounds amazing, and she sings the part with the right form of timbre. She keeps it grounded in her acting, never singing to impress, but only what the phrases calls for. She brought me to tears more than once during the evening, starting with "I miss the mountains". Her performance is honest and the anguish, at times, quite difficult to witness. Which is the who point!

Hans Marius Hoff Mittet as Dan, the father, plays the role as the loyal husband who is doing everything he can to keep his family together the best he can. He is tormented, tired and doesn't really know what to do to help his wife. His voice suits the role like a glove, and his distress really comes through in his vocals. When he sings "I am the One" his frustrations really shines through. Even though his intentions are good the relationship becomes more and more toxic, for each thing he urges his wife to try. It's a shame this production has chosen to cut "I've Been" since this is the one time Dan is candid about how he really feels, and his anxiety for being alone never really comes through anymore.

Their son Gabriel, played by Lars Henrik Aarnes, has an almost angelic voice fitting the part perfectly. He is more hands on in this version, almost orchestrating his mother's mental breakdown, step by step. His sister, Natalie, is brilliantly played by Monica Dybwad. She has been included in more scenes, which is a nice touch, and seeing her display her "first crush" smile, while at the same time her mother sings "I Miss the Mountains" was an inspired choice. Also putting on noise canceling headphones at the start of "Everything Else" as she walks to her rehearsal piano room was also a nice touch. Her voice is wonderful and her acting on par with her singing. Especially the scenes with her mother sticks out. Her wannabe boyfriend, Henry, is played by Thomas Ottesen who's version of "Perfect for You" is perfect for him. He is charming, awkward and sympathetic in his portrayal of the stoner Jazz student. The final (dual) part of the ensemble is her psychiatrist/doctor played by Morten Remberg. He is the ever smiling, always caring doctor (until the appointment is done) and has a likewise sympathetic voice. But in this version the hallucinations of the scary rock star has been scrapped. I miss it, but for this production I understand why it was removed.

The productions design (by Christina Levery) becomes more minimalistic as the show progresses. The once perfectly placed furniture is unhinged and crooked. The blinders disappear as Diana starts her journey of electroshock treatment, and Natalie starts her own journey with her mother's drugs. So does the table and chairs. When Dan is trying to get his wife to remember he is using the chaise longue as the table. A very nice touch, only showing more desperation on Dans part in trying control a hopeless situation. How to get her to remember, but not their own son.

Musically this production is fantastic. They have kept the original Broadway orchestrations, and tweaked them to make them slightly less rock n' roll. The orchestra sound great, and it is great to hear a musical where the band is not over amplified, and where the vocals can always be heard and understood. As I said the direction is very abstract and Ola Beskow has done a great job in taking what is written and not gone for the obvious choices, but tried something new. Especially in the second act towards the this truly comes to fruition, where Diana's choices are acted out in movement rather than words.

"Next to Normal" is not the easiest musical to get right. But the source material is so strong, that the trickiest part to get the right is the casting. And the cast is super strong, each getting their chance to shine. We need musicals like these to be in the repertoire, and it is great that a venue like Lørenskog Hus, just outside Oslo, goes all in presenting us with this gem in an ongoing pandemic. Like it says in the finale; Let There Be Light!

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Diana: Solveig Andsnes
Daniel: Hans Marius Hoff Mittet
Gabriel: Lars Henrik Aarnes
Natalie: Monica Dybwad
Henrik: Thomas Ottersen
Psykiateren: Morten K. Remberg

Direcor: Ola Beskow
Scenic design and costumes: Christina Lovery
Musical Director: Peder Varkøy
Translator: Aleksander Engevik

Violin: Emilie Heldal Lidsheim
Bass: HÃ¥kon Eivind Larsen
Cello: Kaja Fjellberg Pettersen
Drums: Kristofer Mathias Staxrud
Guitar: Magnus Rydland
Piano: Peder Varkøy

Stage manager: Linda Marie Magnussen
Photos: Kristoffer Engen
Sound technician: Amund Tømmerbakke
Sound: Anders S. Oliver
Light: Jonny Grødahl
Video: Simon Valentine

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