Next to Normal, Round House Theatre, Bethesda, MD

 

Tracy Olivera (center) and the cast of Next to Normal. Photo Credit: Margot Schulman Photography.

One of the special joys of getting to see a number of productions at different venues in the Washington area is getting to see many actors demonstrating the versatility and range of their talents as they perform different roles in different venues. I don’t know how easily it works from the actors’ standpoint, but they appear to slide seamlessly from one company to another. 

When I saw that the Round House Theatre Company in Bethesda, MD, would be staging Next to Normal this season (in a co-production with Barrington Stage Company), starring Tracy Lynn Olivera and Kevin S. McAllister, I knew that I would be making the trek to Bethesda for my first visit at the Round House. Unfortunately for me, McAllister’s understudy went on for him at that performance, thus, instead of seeing two long-time favorites, I would see one and become acquainted with an actor I had not previously seen.

The first time I saw Tracy Lynn Olivera was in the 2016 Ford’s Theatre production of the musical 110 in the Shade. I knew that I was seeing a superbly talented actress giving a dynamic and memorable performance. My recognition of her “outstandingness” was confirmed when she won the first of her two Helen Hayes Awards for her role. Playing opposite her in 110 in the Shade was McAllister. The next year, the two of them shared the Ford’s stage again in an outstanding production of Ragtime. This time, it was McAllister’s turn to accept a Helen Hayes.

In Next to Normal, we go on a psychiatric journey with Diana (Olivera), who has been diagnosed as bipolar. We see the effects of her mental illness and its treatments on Diana, as well as their impact on her family, making it clear that in situations such as this, no one is spared.

Librettist/lyricist Brian Yorkey and composer Tom Kitt won the 2010 Pulitzer Prize for Drama, and its original Broadway production won Tony Awards for its score, orchestrations, and leading actress Alice Ripley. The rock musical score (by Kitt and Yorkey) brings the show to life, somehow especially fittingly. Mental illness is not Rodgers and Hammerstein material. It belongs with rock music, often loud and discordant, with driving beats that change as the characters evolve.

Lucas Hinds Babcock (Gabe) and Tracy Lynn Olivera (Diana) in Next to Normal. Photo credit: Margot Schulman Photography.

We see things from Diana’s perspective, which touches on worlds that are sometimes real and sometimes imagined. Diana doesn’t know the difference, nor do we at first. Different attempts at treating her produce different results, always with side effects. These efforts range from the somewhat-farcical, as in a song titled “My Psychopharmacologist and I” (one lyric riffs on Rodgers and Hammerstein with “these are a few of my favorite pills”), to the truly horrific, referencing the film “One Flew Over the Cuckoo’s Nest” and poet Sylvia Plath in a number titled, “Didn’t I See This Movie?” If I go much further in describing the plot, I fear I will give away points that should be discovered upon the first viewing of the material. Ultimately, the characters realize that they may never achieve “normal,” but they can strive for “next to” it.

Olivera gives an acting master class in her performance. Since the Round House is such an intimate space, every audience member can look into her eyes and see inside her mind. At times, images of the actors are projected onto the set, always with a focus on the eyes, giving life to the old Latin proverb that “the eyes are the mirrors of the soul.” Actors often over-do portrayals of mental disturbance, but Olivera keeps it real. Psychologically, physically, and vocally, playing Diana may well be one of the most challenging roles in musical theatre.

If there had not been a note in the program, you would not have realized that Diana’s husband, Dan, was played by the understudy. While I was sorry to have missed McAllister, Calvin McCullough gives a fully-realized performance, matching Olivera on every level. McCullough’s performance captures the character’s compassion and genuine love for his wife, as well as his helplessness, frustration, and despair in living with Diana, trying to keep it all together.

Tracy Lynn Olivera (Diana) and Sophia Early (Natalie) in Next to Normal. Photo credit: Margot Schulman Photography.

Lucas Hinds Babcock brings tremendous energy and athleticism to his role as Gabe, while Sophia Early as his sister Natalie effectively portrays general teenage angst taken to another degree because of her mother’s illness. Ben Clark as Natalie’s boyfriend conveys the confusion of an outsider encountering a household that has been beset by mental health issues. Nicholas Perez-Hoop (also an understudy) portrays two different doctors with two different approaches and demonstrates for us what Diana sees and what is real.

I have seen several productions directed by Alan Paul, three of them large-scale musicals (Man of La Mancha and Kiss Me, Kate at the Shakespeare Theatre Company and The Pajama Game at Arena Stage). With this production, he demonstrates that he is equally facile working with a cast of six. Paul is aided by choreographer Eamon Foley. The movement (not really ”dance”) evolves organically for the characters. Wilson Chin’s two-level set design effectively suggests a number of different locations, and provides a canvas for the amazing and unexpected projections designed by Nicholas Hussong. Sherrice Mojgani and Helen Huang have designed lighting and costumes, respectively, that are used to great effect. Ken Travis designed the sound for the play, but used a bit too much amplification for my taste.

One feature of the set that I especially like is a wide window at the back of the stage, through which we get glimpses of the small-but-powerful orchestra of six, including music director and conductor Christopher Youstra. Though Next to Normal is not completely sung-through, the program lists almost 40 different musical numbers. Youstra earns plaudits for his work with the cast as well as the orchestra.

I have two regrets about this performance. First, that I did not see it until its next-to-last weekend (it was set to close February 24, but has been extended till March 4), so that I could not encourage more folks to see it sooner. And second, that it has taken me this long to visit the Round House Theatre. I will be making the trip to Bethesda again.

Next to Normal is not for everyone, dealing with especially difficult or uncomfortable subjects. But for audience members seeking more challenging material being performed expertly, make it a point to catch it before its run ends.

 

The cast of Next to Normal. Photo credit: Margot Schulman Photography.