Taking on mental illness, Central Square Theater's 'Next to Normal' soars

Pascale Florestal has led some laudable productions over the past few years (including “Once On This Island” at SpeakEasy Stage), but with her outstanding direction of the Central Square Theater/Front Porch Arts Collective production of “Next to Normal” (running through June 30), she moves to the front row of the area’s best directors. Every element of her production is superb – from the stunningly talented ensemble to the thoughtful costume choices of band tees – not one detail has been overlooked.

Brian Yorkey (book and lyrics) and Tom Kitt’s (music) Tony award-winning musical crafts a soulful and stirring pop-rock score for a poignant story seen through the eyes of one “normal” suburban family: mom Diana (Sherée Marcelle), dad Dan (Anthony Pires, Jr.) and teenage children Gabe (Diego Cintrón) and Natalie (Cortlandt Barrett). But like every family, appearances can be deceiving. Diana is suffering from bipolar disorder exacerbated by paralyzing grief; Dan is denying his own grief by focusing on supporting Diana and the family; Natalie is overachieving in a desperate attempt to get her parents’ attention; and Gabriel simply refuses to be ignored. This production’s non-white cast provides another perspective on what it takes to navigate our expectations on what “normal” can look like.

The action tracks one period in the family’s life when Diana’s grip on reality is slipping away. And while this might encourage overacting, Florestal and music director Katie Bickford have guided this ensemble to step so completely inside their characters, every conversation feels natural, and when they break into song, it feels inevitable – the only possible response to the overwhelming emotions engulfing them.

As Diana, Marcelle presents a woman who frets about what her teenage children are getting up to even as she is battles depression and lives “like a refugee, a fugitive, forever on the run. If it gets me it will kill me, but I don’t know what I’ve done” (“Do You Know”). Numbed by years of medications meant to even out her mood swings, she decides to reclaim those highs and lows so she can feel alive again. Marcelle’s voice is heavenly and her rendition of “I Miss the Mountains” is a heartfelt cry for life, but her real gift is her acting chops, making us recognize and empathize with her. Her wide-eyed surprise and uncertainty as she imagines her therapist (a delightful Ricardo “Ricky” Holguin) coming on to her as he tosses his hair in rock-rebel style, communicates her self-deprecating sense of humor as well as her shy fear, vulnerability and bewilderment, creating a three-dimensional woman whose journey we are eager to follow, no matter the cost.

Although the musical ostensibly focuses on Diana, every member of this family and this cast are crucial to the storytelling and every song moves the story forward. And with this talented company, the moments when the songs bring the ensemble together for glorious harmonies – including  “Just Another Day,” “Wish I Were Here,” “Make Up Your Mind/Catch Me I’m Falling” and the goose bump-inducing finale, “Light” – will nearly lift you out of your seat.

Pires offers an oh-so-responsible husband and father (“I’ve Been”), a man who clings to routine, desperately trying to help Diana return to who she was when he fell in love with her. As Natalie, Barrett captures all of this teen’s struggle to step into who she is, even as she confronts a mom who tells her “I love you as much as I can.” Her rendition of “Superboy and Invisible Girl” rocks out, while her relationship with the devoted Henry (a charming Dashawn McClinton) grows tentatively, with the tender “Perfect for You” and “Hey.” As Gabe, Cintrón infuses his character with the easy joy of a happy-go-lucky teen. His electrifying performance of “I’m Alive” shakes the rafters while bringing him close to his mom, and then in the reprise, to his dad.

Erik D. Diaz’s multi-level set encompasses no less than six distinct playing areas that always suggest unique locations while always making clear the deep connections between these characters. Floating above the action are an array of items representing any family’s years together – baby toys and onesies, a soccer ball, photographs, sheet music – items rooted in memories and life’s milestones. Diaz’s design is compact, but never feels cramped. Each “room” is sparsely furnished, except for the bathroom, with its toilet and large mirror in front of a medicine cabinet filled with pill bottles. Florestal, who also choreographed, makes sure the actors move comfortably and easily through every space, whether dancing, standing alone or perching on the edge of a bed.

Music director Katie Bickford leads a five-piece band that rocks out without ever overwhelming these singers – nearly impossible with the powerful pipes on these singer/actors. “Next to Normal” unflinchingly stares down the courage required to navigate both letting go and holding on, and Florestal’s flawless production leaves us breathlessly cheering them on.

Central Square Theater and Front Porch Arts Collective’s production of “Next to Normal” runs through June 30 at Central Square Theater.