Next To Normal has arrived at the Hudson Backstage for an all-too-short 4-performance run that more than does justice to the powerful, deeply moving multiple Tony Award winner.

One of only ten musicals to win the Pulitzer Prize for Drama, Tom Kitt and Brian Yorkey’s Next To Normal introduces us to suburban couple Diana and Dan Goodman, long-married spouses who would, on the surface at least, appear to be heading “the perfect loving family.”

The Goodmans are far from even coming close.

That Diana (Catriona Fray) suffers from manic depression is something we begin to suspect from the moment she sets about scattering slice upon slice of bread on the kitchen floor, the better to speed up morning sandwich prep.

Zoloft, Paxil, Buspar and Xanax are just a few of the prescription meds prescribed by Diana’s shrink Dr. Fine (Carter Michael), and though these drugs may have lessened her anxiety, their side effects have her wondering whether any gain is worth the pain.

Meanwhile, Dan (Jonny Perl) does his best to hold the household together, seventeen-year-old Gabe (Dillon Klena) brags that soon “the world will feel my power and obey,” and aspiring pianist Natalie (Sophia Roth), a year Gabe’s junior, has only music to maintain her relative stability.

When Diana decides to go it alone, sans shrink, sans drugs, sans annoying side effects, who should show up to meet the family but Natalie’s head-over-heels boyfriend Henry (Alex Michèll), and a shocking revelation has us suddenly reevaluating all we’ve come to believe about this not even next-to-normal family.

As deep and dramatic and gripping as the best contemporary two-act play (Yorkey wrote the musical’s Tony Award-nominated book), Next To Normal features a Tony-winning score (music by Kitt, lyrics by Yorkey) that combines rock rhythms, catchy melodies, and clever, insightful lyrics.

All of this adds up to a 21st-century musical that leaves an audience entertained, shaken, better informed about mental illness, and profoundly moved by not only the musical itself but at the Hudson Backstage by the talent bringing it to life.

Director Jackson Prince makes imaginative use of the Backstage’s pre-existing two-staircases and upstage platform, niftily decorated with artwork and household paraphernalia to suggest not only the family’s living environment but also the musical’s other assorted locales.

Not only that, but the performances Prince has elicited from an all-around fabulous cast more than do justice to the material they bring to life.

Fray and Perl may be a tad on the young side to play 40ish Diana and Dan, but they bring so much depth to the roles that any age-related nitpicking can quickly be cast aside.

Not only does Fray have as gorgeous a set of pipes as anyone could wish for (making her renditions of “I Miss The Mountains” and “You Don’t Know” bona fide showstoppers), the passion and depth she gives Diana are as powerful as it gets.

Opposite her, Perl takes a break from music directing to give us a Dan we truly believe is doing his best to deal with the most challenging of marriages and home lives but he’s got one of the most gorgeous tenors around.

L.A. audiences can thank their lucky stars that rising star Dillon Klena has jetted back to the West Coast to give us as sizzling and sensational a Gabe as any Next To Normal lover could wish for.

Roth is absolute perfection as forgotten child Natalie and she couldn’t ask for a more nerdily charming Henry than Michèll, with Wisteria Theatre favorite Michael doing dynamic double duty as the more sedate Dr. Fine and the rock-star-sexy Dr. Madden.

I’m particularly impressed by the ingenuity of choreographer Alexa Blair’s musical staging of the pill-popping extravaganza that is “Who’s Crazy” and the manic “It’s Gonna Be Good” comes in a close second.

The Hudson Backstage guest production benefits enormously from Jonathan Kretchmer’s expert music direction and a powerhouse live band featuring Kretchmer and Josh Bartley on keys, Ian Felchlin on guitar, Daniel Sedana on bass, and Justin Lottie on drums.

Matthew Perelman’s lighting design ups the drama and the excitement every step of the way, with Kensington Watts’ sound design ensuring that we don’t miss a lyric or line of dialog.

Ryan Goldberg is assistant director. Perl is vocal director. Andrew Lin is stage manager.

I’ve now seen twelve productions of Next To Normal, and limited-run guest production or not, this one more than holds its own against the best N2Ns I’ve seen. I count myself lucky indeed to have been there for opening night.

Hudson Backstage, 6539 Santa Monica Blvd, Los Angeles. Through August 23. Saturday at 7:30 and Sunday at 3:00.
www.instagram.com/nexttonormalla/

–Steven Stanley
August 20, 2026

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Tags: Brian Yorkey, Hudson Backstage, Los Angeles Theater Review, Tom Kitt