Past Reviews

Regional Reviews: Phoenix

Next to Normal
Final Act Theatre
Review by Gil Benbrook

Also see Gil's review of The Secret Garden


The Cast
Photo courtesy of Final Act Theatre
Next to Normal is a powerful musical with emotionally charged characters and a deeply human story told through an electrifying score. It's also a musical that demands both vulnerability and clarity in its performances and direction to ensure the serious themes resonate. Final Act Theatre's production delivers on both fronts. With a talented cast, sure-footed direction guiding every beat, and a small venue that brings the powerful weight of every action very close to the audience, this staging of the Pulitzer Prize-winning musical finds the emotional truth in every lyric, line and moment. The result is a moving and resonating theatrical journey and a solid production of this excellent musical.

Next to Normal follows the story of Diana Goodman, a suburban wife and mother battling bipolar disorder, and the ripple effect that her mental illness has on her family. Her husband Dan is devoted but struggling to hold the family together, and their daughter Natalie feels increasingly invisible and burdened by the chaos around her. As Diana seeks treatment through therapy and medication, secrets begin to surface, leading to a reckoning with past trauma and changes in their relationships that test the limits of love, memory and healing. The story unfolds with honesty and urgency, driven by the Tony winning rock-infused score that features Tom Kitt's gorgeous music and Brian Yorkey's emotionally raw lyrics and book.

Each member of the cast brings depth and nuance to their role. Diana is portrayed with heartbreaking clarity by Brianne Gobeski. From her vulnerable and raw performance, we see a woman caught between delusion and reality, trying to reclaim a sense of self amidst the chaos of her mind. Gobeski does a wonderful job in showing how Diana oscillates between moments of lucidity and disorientation; her portrayal of Diana's journey through therapy, medication and memory is both heartbreaking and courageous. Gobeski's earthy voice works well on her many songs to depict how Diana balances fragility with moments of fierce strength. Equally good is Jacob Shore as Dan, Diana's devoted husband. Dan is a quiet force and Shore beautifully plays him with understated pain and deep compassion. From Shore's clear portrayal we see how Dan desperately tries to keep the family together while quietly carrying the weight of Diana's illness and suppressing his own pain. Shore's singing voice is excellent, delivering one of the best sung performances of the character I've seen in more than a half dozen productions of this show.

As their teenage daughter Natalie, Taylor Underwood channels the frustration and emotional neglect Natalie feels into biting snark and wit, with a guarded sense of vulnerability. Underwood's singing voice is sensational with a power and clarity that hits every emotional nerve of the character with intense feeling. Andrew Wildermuth instills Gabe, Diana and Dan's son, with a presence that haunts and pulls at the family in unexpected ways both alluring and unsettling. As Henry, Natalie's boyfriend, Donovan Reza offers warmth and gentle humor, acting as a steadying presence as Henry tries to bring some semblance of normalcy to Natalie's world. Two of Diana's doctors are played with charisma and clarity by Patrick McMullen, guiding Diana through her complex and often harrowing treatment.

Paul Yount's direction focuses on ensuring the cast deliver honest, grounded portrayals, allowing the emotional weight of the story to take center stage. The Spotlight Studio provides an intimate space that works to the production's advantage, pulling the audience into the Goodman family's home and their hearts; each audience member can feel like a fly on the wall of the home with many scenes playing out just a few feet away from. Nickole Custodio's music direction derives powerful vocals from most of the cast that are clear and crisp, although some members falter a bit on hitting or holding sustained notes. Olivia Martinez's lighting design is mainly dark throughout, with a few subtle shifts from harsh lighting to soft, dreamlike hues full of shadows; I wish there were a little more lighting on some moments to allow the faces to be fully seen. Yount's set is minimal but effective, with layered levels and symbolic touches, while Gobeski's costumes feel lived-in and reflective of each character.

Next to Normal is a deeply affecting musical, and Final Act Theatre's production is a moving experience that lingers well beyond the final note. By focusing on authenticity, connection, and emotional truth, it reaffirms why this musical continues to resonate so powerfully.

Next to Normal, a Final Act Theatre production, runs through April 13, 2025, at Spotlight Youth Theatre, 10620 N 43rd Avenue, Glendale AZ. For tickets and information, please visit www.spotlightyouththeatre.org or call 602-843-8318

Director: Paul Yount
Music Direction: Nickole Custodio
Scenic Design: Paul Yount
Costume Design: Brianne Gobeski
Lighting Design: Olivia Martinez
Sound Design: Niarq Mohamed

Cast:
Diana: Brianne Gobeski
Dan: Jacob Shore
Natalie: Taylor Underwood
Gabe: Andrew Wildermuth
Henry: Donovan Reza
Dr. Madden/Dr. Fine: Patrick McMullen