NEXT TO NORMAL
- writeonarts
- May 4
- 4 min read
Director: Kyle Chuen
Musical Director: Nick Braae
Producer: Bold Theatre
1-9 May 2026, The Meteor
Bold Theatre’s major production of the year is Next to Normal, an award-winning rock musical that sits in an uncomfortable place of speaking to the unspoken, namely the impact that a mental health crisis can have on an entire family.
The lead role of Diana, a mother battling mental illness, is shared between Julia Booth and Courteney Mayall on alternating performances. I attended the first performance of each and experienced two distinct interpretations by accomplished performers.
On Friday, Booth’s heightened mania was unsettling, and the tension with the family was on the edge of unease. Booth’s portrayal had a gripping intensity.
Saturday night’s performance with Mayall had a more carefree, playful approach. Her Diana was played with a light and assured touch, but her suffering was commensurate with the level achieved by Booth.
Diana’s first interaction with son Gabe (Jonathan Herd) was puzzling, and I wondered about the directorial choice. However, it proved to be inspired as the show progressed. Herd sang the socks off arguably the most well-known number “I’m Alive.” This anthemic piece was exceptionally well received at both performances.
As daughter Natalie, Zara Thompson impressed with her frustration at family life. Her yearning for affection from a distant mother was palpable. Her duets were impeccable, and she maintained the emotional restraint required for the character.
Felix Rowe (Henry) did not have to dig deep to play the compassionate boyfriend. However, he was able to epitomise a stoner to a T with half-lidded eyes, and an unhurried smile. Rowe added more depth to Henry than was written, particularly his awkwardness at the family dynamics.
Zac Clarke (Doctor Fine and Doctor Madden) delivered the complicated medication lines with flair. As Dr Madden, his first meeting with Diana packed a punch with a Jekyll and Hyde style confrontation supported by the music and sharp lighting cues.
Most often, The Meteor’s black box is set in an east-west orientation. Less often, there is a north-south layout. And then once in a blue moon, it is corner set which was the case for Next to Normal. Projections and multi-purpose stage dressing items allowed for seamless scene changes. A staircase and upper landing provided visual dimension. Interestingly, Henry was the only character to wear a brighter colour, whereas the family were in monochromatic or darker tones throughout, perhaps a nod to their turmoil.
The staging of “Make Up Your Mind/Catch Me I’m Falling” was technically perfect. A split-second capture of this any part of this song would sit well in a textbook under Blocking or Sightlines or Lighting.
In fear of being accused of this being a disingenuous review, I can tell you what I did not like about Next to Normal and it has nothing to do with Bold Theatre’s production. Lyricist Brian Yorkley had an almost manic commitment to pure rhyme – adoring/boring, week/freak, other/brother, and those examples are from the first verse of the first song. Next to Normal could have been an entirely sung-through show if it was not for this overwhelming obligation to perfect rhyme.
Dialogue steadily prevailed
where rhymezone dot com failed
One of the best lines of dialogue was between Natalie and Henry when he says “I bet she has great pills, not that I would go there. That sh&t’s inorganic.” Throughout, there were moments like this to lighten the load including a brief nod to The Sound of Music, angsty teen comebacks, and witty one-liners.
Nick Braae alongside five talented musicians kept the music cranking. This wasn’t a stop/start affair, there was underscoring and incidental music to fill the voids. Those in the seating block closest to the door benefited from the dual view of the staging area and band. Mark Connolly was in his element with grungy guitar solos alongside Braae on the keys, Damon Taylder on the drums, with Charlie Garcia Gil (violin), Peng Xie (cello), and Steven Smith (bass) rounding out the group. Who knew strings could be so rocky?
Kyle Chuen multi-tasked his way through the musical as both director and Diana’s husband Dan adjusting to two vastly different performances. It was a tremendous return to the stage after many years on the creative side of numerous productions. Chuen’s spectacular voice and ability to utterly encompass a tortured soul trying to hold it all together was exceptional.
One final note: It was Thompson who encouraged me last year to see alternating casts when possible. This process of seeing both versions of Diana left me with the profound realisation that mental health issues look different for everyone. I would encourage audiences to see both Booth and Mayall. My senses were on overdrive the first time (hi anxiety, I see you lurking), but during the second performance, I knew what was coming. I found solace in the humour and was comforted by the way Bold Theatre under Chuen’s direction had dealt with the content. The final number lessens the angst allowing the audience to leave with a sense of peace, and perhaps acceptance.
There are five performances remaining, with Booth and Mayall continuing to alternate. Furthermore, on 6 May 2026 Noah Fortuin will play Gabe and Kate Scotting will play Natalie. Alex Pelham-Waerea will take on the part of Dan on 7 May 2026.
Photos: Mark Hamilton
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