★★

“Hampton is not a writer known for his humour, but the script is relentlessly grim”

Since Hampstead Theatre lost its Arts Council funding their programming has been shaped by the need for philanthropic donations. It seems a safe choice then, to programme the UK premiere of the latest Christopher Hampton adaptation, which will surely encourage audience attendance. Unfortunately, while this play explores many of Hampton’s favourite themes – memory and time, loss and obsession, seduction – it falls emotionally flat and is overwritten to the point of parody.

The story is moving, if slightly sentimental. It is based on a Zweig novella of the same name and is set against the building xenophobic tensions of 1930s Vienna. But this political context gets only the briefest of nods. Instead, the play focusses on two characters, a middle-aged writer, Stefan, whose biography seems curiously similar to Zweig’s own, and a mysterious young woman, Marianne, whose sexual enthusiasm is made disquieting by a peculiar familiarity with Stefan’s life. The story unravels into a personal tragedy, with sex and casual cruelty at its poignant heart.

Chelsea Walker’s direction shines in the passion between the two, but somehow fails to inject this verbose two hander with the necessary emotional depth to carry it.

Hampton is not a writer known for his humour, but the script is relentlessly grim. Marianne’s story in particular, is emotionally monotonal. Whether that’s the script, performance or direction is unclear, but there is a sore lack of light and shade.

The dynamic between the two should be fascinating, but Marianne’s unrelenting and unbelievable selflessness feels more like Zweig’s (or Hampton’s) own fantasy than a real woman.

James Corrigan, playing Stefan, has been brought on late into the process, only taking over the role after the first week of performances, and bearing that in mind his performance is impressive. He plays the writer as a Hugh Grant-esque bumbling charmer. It’s a good performance, but maybe lacks the magnetism which can birth the level of obsession which the play explores. Natalie Simpson’s performance is a little one note, but as discussed, that’s not entirely her fault. It would’ve been interesting to see this character unravel more, but there are a couple of moments where Simpson’s range is unleashed. Nigel Hastings has a walk on part of Johann the butler, which feels a little random, but he embodies it well. Jessie Gattward as a young Marianne is deeply sinister, with a moment of pained physical theatre which works well in balance with the naturalism.

The set (Rosanna Vize), sound (Peter Rice) music (Max Perryment) and lighting (Bethany Gupwell) are excellent. The set is an apartment, with a landing, and a huge pile of wilted white roses rotting in the darkened corner outside. The music, at one point echoed by Corrigan on the piano, provides a haunting refrain as the play shifts through time and memory. The lighting alters to play with shadow, building an excellent atmosphere which never quite comes to a climax.

Of all novellas ever written, or even all Zweig novellas, this is a strange one to choose to adapt. Perhaps the most interesting thing about it lies in the biographical hints of Zweig’s own life – he wrote it shortly before he left Vienna for South America where he committed suicide. Knowing that (or reading the programme) brings moving light onto the reaction of the writer, but without it, the play feels a little adrift, almost like a scene within a longer play to which the audience is not privy.

NEXT TO NORMAL at Wyndham’s Theatre

★★★★★

“as close to extraordinary as is physically possible”

Many years ago, as a young father, I often interrupted my children’s playtime by asking what they were doing. They never thought it an intrusion – always happy to answer. One particular day, in response to the question my daughter responded with “I’m trying to be normal”. Five minutes later she had completely forgotten the conversation (possibly the ice cream van, or the urgent matter of shouting at her little brother took precedence), but it lingered with me for some time. I think I had answered in my usual flippant way with something like “join the club” or “aren’t we all?”. I never thought of bursting into song. Decades later the perfect answer is delivered to me from the West End stage.

“I don’t need a life that’s normal
That’s way too far away
But something next to normal
Would be okay
Yes, something next to normal
That’s the thing I’d like to try
Close enough to normal to get by”

When Eleanor Worthington-Cox delivers the lines towards the end of the second act in Tom Kitt’s (Music) and Brian Yorkey’s (book and lyrics) astonishing musical, there’s not a dry eye in the house, yet there’s also a collective feeling of elation that ripples through the auditorium. “Next to Normal” obviously addresses the subject of mental health but it never feels that way. The message (if there is one) or the answer (there isn’t one) runs subliminally beneath a musical that soars to the heights.

Worthington-Cox is Natalie, the daughter to Diana (Caissie Levy) who grapples with her bipolar disorder. In principle it is Diana’s story. A heart-wrenching one. In reality it is everyone’s story. Levy is simply stunning in the lead role, capturing with undiluted precision and sympathy all the highs and lows of her roller-coaster condition, guiding us through the funny moments to the achingly sad and tragic. Levy is surrounded by five other lead players, for this is an ensemble piece. Husband Dan (the magnificent Jamie Parker) battles to understand, often picking up the pieces and trying to get through another day. Initially it all seems normal. The angst-ridden daughter and the waif-like son, Gabe (Jack Wolfe), getting ready for school. But how quickly it all unravels – until the bombshell arrives quite early on. It won’t be long before the whole capital knows the twist, but until then I’m keeping mum.

The medical profession is not so much made fun of, but scrutinised with comic genius by the writers. Trevor Dion Nicholas plays two different doctors – the aptly named Dr. Madden and Dr. Fine – lightening the mood with darkness each time he arrives on stage, littering the space with pill boxes, black humour, dubious cures or just the aura of a Rock God. Another subplot is supplied by the blossoming relationship between Natalie and school chum Henry (Jack Ofrecio) which mirrors the elder couple’s in a frighteningly authentic, cyclical way. Jack Wolfe, of course, is sublimely shadowy as Gabe. Whilst his character is fighting to be seen and not forgotten, there is no denying that the beauty of his voice can be heard near and far and the tones will be remembered for a long time.

The musical will linger in the memory for even longer. The score is magical. One moment light and catchy, another aching and haunting. The manic ‘It’s Gonna be Good’ sits comfortably alongside Levy’s aching rendition of the soaring ‘I Miss the Mountains’. Vulnerability and despair, heartache and longing, love and guilt have all never been served better in song. Interspersed between the numbers are some brilliantly succinct one-liners that sum up decades of medical hypothesis. The fact that they are dressed in cloaks of humour add poignancy to the already impassioned performances. ‘Most people who think they are happy haven’t thought about it enough’

Nobody has to think hard at all to realise that “Next to Normal” is as close to extraordinary as is physically possible. ‘There will be light’, we are told in the uplifting closing number. But it is far from a cloying sentiment, as a tangible question mark still hangs in the air. And for the moment, the light is refracted through tears – of sadness and of joy. Heart-breaking, heart-warming and life-affirming, this musical is more than a must see.

Tag Archives: Marc Brenner

VISIT FROM AN UNKNOWN WOMAN

★★

Hampstead Theatre

VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

★★

“Hampton is not a writer known for his humour, but the script is relentlessly grim”

VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

Reviewed on 11th July 2024

by Auriol Reddaway

Photography by Marc Brenner

Previously reviewed at this venue:

THE DIVINE MRS S | ★★★★ | March 2024

DOUBLE FEATURE | ★★★★ | February 2024

ROCK ‘N’ ROLL | ★★★★ | December 2023

ANTHROPOLOGY | ★★★★ | September 2023

STUMPED | ★★★★ | June 2023

LINCK & MÜLHAHN | ★★★★ | February 2023

THE ART OF ILLUSION | ★★★★★ | January 2023

SONS OF THE PROPHET | ★★★★ | December 2022

BLACKOUT SONGS | ★★★★ | November 2022

MARY | ★★★★ | October 2022

THE FELLOWSHIP | ★★★ | June 2022

THE BREACH | ★★★ | May 2022

VISIT FROM AN UNKNOWN WOMAN

VISIT FROM AN UNKNOWN WOMAN

Click here to see our Recommended Shows page

NEXT TO NORMAL

★★★★★

Wyndham’s Theatre

NEXT TO NORMAL at Wyndham’s Theatre

★★★★★

“as close to extraordinary as is physically possible”