Play Review by Patrick Mulvihill:

Next to Normal

A review of the Lord Leebrick Theater's (Eugene, OR) production

 of the hit broadway musical, Next to Normal. 

Performance date:  January 24th, 2013.

            

            The backbone of musical theatre is, of course, the music. For a small-scale production, the musical score of the Lord Leebrick version of Next to Normal was remarkably mature, strengthening the play as a whole. The actors and musicians almost always managed to convey emotions with both power and clarity, using music as an emotive force to draw the audience deeper into the narrative.

            Instead of relying on pre-recorded instrumental tracks to sing over, (a tactic that some small local theatres employ), this production hosted a full band: a drummer, a bassist, an electric guitarist, a cellist, and a pianist. The accompaniment was subtle and never overpowering, but it still provided a level of energy and passion that a recorded track could never have achieved. In terms of volume, it was quite easy to disentangle the vocalists from the mix and understand the lyrics. The band’s musical sensitivity made this possible. For example, when the electric guitarist switched to a distorted hard rock tone, he kept his amplifier volume level very low so that his playing would not intrude on the vocal performances. This dynamic restraint is of great importance in a musical like Next to Normal where the majority of the dialogue is sung.

            Another example of restraint was the drummer’s use of multi-rod drumsticks instead of conventional ones. These are made up of many smaller sticks banded together – which gives them a softer attack than regular drumsticks, yet a more aggressive sound than metal brushes which many jazz drummers prefer. Just like the guitarist, the drummer was concerned with achieving the powerful sound of rock but without the ear-shattering volume associated with the genre.

            With an excellent support from the instrumentalists, the actors were allowed to shine. The actresses who played Diana and Natalie had soaring mezzo-soprano voices suitable for the big, dramatic emotions they were attempting to convey. Another powerful singer was the actor portraying Gabe. His voice was much more steely and biting than his Broadway counter-part, but this was a welcome change. Several of the songs about pain and longing such as “I Am the One” were vastly improved by his shouting, urgent tone.

            

                          Lord Leebrick theater in downtown Eugene. New address is 198 W. Broadway.

                 

            The actor who played Dan was also a skilled singer (and thespian) but his voice did not fit that of a middle-aged man. His tone was so young and pure that it was difficult to imagine him as a father figure. Remember that Dan is supposed to be a tired, weary husband whose youth has long since passed – and this actor failed to project that idea visually and sonically. Also, because all the male actors sang in the tenor register, it was difficult to tell them apart. An easy solution would have been to make Dan a lyrical baritone. However, talented baritones are much more rare than tenors. Therefore, it is more likely that the man who played Dan was chosen for his considerable theatrical talent, not for his accuracy in depicting the character.

            Still, the music was quite effective. The catchy songs helped me stay focused on the complex narrative. Numerous times, I felt chills. I was drawn into the story’s world and I suddenly cared a great deal about Diana and her family even though they were fictional characters in a bizarre, surreal situation that I would never be put in. Reading the play did not give that same sense of empathy. True, it was a cleverly written play, intricate and richly nuanced, but text alone cannot reveal the efficacy of a musical – one must witness it and hear the songs in action. The music of Next to Normal is the key to its emotional power.