★★★★★

“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.

THE LONELY LONDONERS at Jermyn Street Theatre

★★★★

“an energetic and stylish play that could easily become a classic”

Adapted by esteemed British playwright Roy Williams, The Lonely Londoners at the Jermyn Street Theatre is the first staging of British-Trinidadian Sam Selvon’s 1956 novel. It’s somewhat surprising that the material hasn’t been adapted before, given the popularity of Windrush stories like Andrea Levy’s Small Island, adapted for the small screen in 2009 and staged at the National Theatre in 2019. That being said, it’s a pleasure to see the material in Williams’ hands with a script full of clever dialogue and a plot that, through the exploration of individual stories, allows for variety and nuance that creates a sophisticated, textural piece.

The drama centres around Moses Aloetta, Gamba Cole, a charismatic and well-connected Caribbean emigré with a cigarette surgically attached to his hand as he and his friends try to make their way in London. We meet the happy-go-lucky Big City, Gilbert Kyem Jnr, full of malapropisms based on London’s streets and boroughs, eager to put on a dance for the community. There’s Lewis, Tobi Bakare, recently out of work and worried about the arrival of his wife Agnes, Shannon Hayes, and mother, Carol Moses. And finally Henry ‘Galahad’ Oliver, fresh off the boat train with nothing but his pyjamas and toothbrush ready to take London by storm. Moses connects and grounds the group but is haunted by the image of the love he left behind in Trinidad. As the group gain experience of the city and its aggressive inhabitants, fear creeps in that this could all end in ruin. Fortunately, whilst the end does indeed bring sadness for some, it is not wholly an unhappy ending.

Performances from the whole cast are impeccable, each demonstrating an impressive emotional range in under two hours. The men are all degrees of cheeky and charming, lost and lonesome, and aggressive and angry. The women display similar range, gleeful at their small triumphs and despairing of the challenges they face. This is perhaps most dramatically exemplified by Romario Simpson as Galahad as we see his realisation from wide-eyed new arrival to a literally battered and bruised shell – his monologue denouncing the English for their unchecked racism is a powerful performance. It’s also worth praising the authentic Caribbean accents, coached to perfection by Aundrea Fudge.

There are, however, some odd directorial choices which break the drama. The dialogue is so rich that there are no ambiguities – these characters are talking from the heart at all times and we understand their fears, hopes and frustrations through what they say. Director Ebenezer Bamgboye’s choice to also include elements of physical theatre to show, for example, how the men support each other when the going gets tough is not necessary; we have already heard it.

On the other hand, the inclusion of contemporary music of black origin throughout the piece (Protoje’s ‘Who Knows’ beautifully sung live by Aimee Powell, a couple of Michael Kiwanuka tracks and more) subtly reminds you that, whilst this is a historical drama, the themes and experiences portrayed are, unfortunately, not resigned to history books.

Lighting by Elliot Griggs enhances the drama – whether through slow fade-ins that subtly draw your attention across the stage away from the action, or through dramatic bursts of light that ignite a fight. There is also clever use of flash bulbs on the back of the stage which are programmed to situate scenes by their postcodes, or show a graphic image which add fun and interest to the studio theatre.

The Lonely Londoners is an energetic and stylish play that could easily become a classic just like its source material. Although speaking to a specific moment in time, it’s themes of migration, racism and isolation resonate across the years. But it is the hopeful message of friendship and resilience, particularly through humour, that set this show apart and make it an enjoyable as well as educational watch.

Tag Archives: Tony Gayle

NEXT TO NORMAL

★★★★★

Wyndham’s Theatre

NEXT TO NORMAL at Wyndham’s Theatre

★★★★★

“as close to extraordinary as is physically possible”

NEXT TO NORMAL at Wyndham’s Theatre

Reviewed on 26th June 2024

by Jonathan Evans

Photography by Marc Brenner

Previously reviewed at this venue:

KING LEAR | ★★★★ | October 2023

OKLAHOMA! | ★★★★ | February 2023

LIFE OF PI | ★★★★★ | November 2021

NEXT TO NORMAL

NEXT TO NORMAL

Click here to see our Recommended Shows page

THE LONELY LONDONERS

★★★★

Jermyn Street Theatre

THE LONELY LONDONERS at Jermyn Street Theatre

★★★★

“an energetic and stylish play that could easily become a classic”