Next to Normal

From the get-go, Next to Normal at the ADC Theatre, Cambridge, was a frantic masterpiece: a bold choice for an amateur production, with a cast of just six and a score that leans more to a rock opera than traditional musical theatre. The music was intense, discordant notes married with tight harmonies, gritty rock vocals followed by big belt moments. The company embraced that musical complexity with the same restless energy as the show’s themes.

The set was visual delight, skilfully echoing the show’s themes: a full staircase stage left above the kitchen, a simple central doorframe, a half-stair up to a landing stage right that created multiple locations and even a hospital bed hidden as part of the landing rostra. The walls, simple wooden frames covered in thin canvas, were particularly effective when lit from behind, creating striking silhouettes and flashes of colour in the production’s higher-energy breaks. The varying angles of the top of the walls added a jagged, perfectly unsettled backdrop that suited the show.

A couple of technical aspects weren’t my thing. The lighting rig flying in and out behind the walls was noticeable and, at times, distracting. Sound was generally strong, but there were moments when the lead guitar sat too far forward in the mix and overpowered the vocals. A few timing slips in the percussion were also evident; it was impressive, for example, how Diana in “I Miss the Mountains” held the song together when the shaker drifted several beats behind. There were also a couple of instances, mainly in Act One, where offstage ‘ensemble’ vocals didn’t quite land in balance with what was happening onstage.

With a show like this there’s nowhere to hide, and every member of the cast rose to that challenge. Seriously well done to all. I was blown away.

Michael Broom, doubling as Dr Madden and Dr Fine, brought a dry wit to his characterisation, and the occasional Elvis inflection later in the show was a great comic touch without ever tipping into parody.

As Henry, Toby Walden made the “slightly-nerdy stoner” persona genuinely likeable and he sustained a strong vocal throughout.

Oliver Oxley played Gabe with a convincing edge, both threatening and unnervingly magnetic, as the ever-present figure in Diana’s mind. “I’m Alive” was a standout: high voltage in both voice and movement and delivered with real intent.

As Dan, Steve Nicholson gave the show a needed centre of gravity. His voice had a terrific rock timbre, and he played the character’s steadiness and his own complicated coping mechanisms with consistency and care.

Elin Gregory was particularly impressive as Natalie. Not only was her voice phenomenal, but the acting was exemplary. Natalie’s instability has to register in more subtle ways than Diana’s, and Elin handled that shading with ease. A real standout performance. Bravo.

And then there was Vikki Jones as Diana. I’d seen Vikki earlier this year in Guys & Dolls and knew she was talented, but this performance was on another level. Vocally, she was secure throughout (even when the band briefly wobbled) and the emotional truth of her singing and acting landed again and again. What impressed me most was the control: it would be easy to play Diana at one constant pitch of frantic intensity, yet Jones found the full range, including the numb, medicated void in the middle of the show, before building back to the extremes. This was the kind of performance that stays with you.

Ultimately, this production succeeded because it trusted the material and met its demands head-on: committed acting, fearless vocals, and storytelling that never flinched. Despite a few technical distractions, this was an outstanding show. A huge congratulations to Cat Nicol (Director), Andrew Taylor (Musical Director) and the whole cast and crew that bought this masterpiece together.

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