ST. GEORGE — The Stage Door’s production of Next to Normal on Thursday, February 19 at 7:30pm was a bold undertaking. The content alone is heavy with a focus on mental health and grief as characters navigate bipolar disorder, loss of an infant, and attempted suicide. It also demands everything from its cast with powerful vocals, deep emotions, and a need for top notch acting with little time off the stage. Next to Normal, with book and lyrics by Brian Yorkey and music by Tom Kitt, is not an easy show to put on for any company at any level and was a brave choice for a community theater. Admittedly, I was hesitant and unsure of what to expect. The musical is raw. It is unflinching. But, Stage Door pulls it off. Not only do they meet the demands of the material, they honor it—with care, clarity, and conviction.
Every cast member rose to the occasion with their acting. This show does not allow anyone to hide with no large ensemble numbers to blend into. Every moment is exposed. Steven Olson as Dan brought a quiet steadiness that made his character’s desperation even more heartbreaking. His portrayal of a husband trying to hold together what feels perpetually on the brink of collapse is believable and restrained in all the right ways. Callie Rubio as Natalie is not overlooked and is given depth and dimension. Her anger feels earned. Her longing for normalcy is palpable. In her more vulnerable scenes, especially opposite Henry, she is believable and pulls the audience in.
Gabriel is arguably the most difficult part in the cast, and Reed Laudie plays it beautifully. The character has to be comforting, yet unsettling. A lifeline, yet a threat. Laudie tackles the duality through physical movements, facial expressions, and vocals—every choice feels intentional and lands with the desired impact. He embodies a perfect combination of tender love and ominous intensity that isn’t easy to achieve.
Makayla Klump as Diana has the voice and vocal talent the role requires. Diana is onstage for nearly the entire show, carrying some of the most vocally and emotionally taxing numbers in musical theater. From the frantic energy of the early scenes to the devastating vulnerability of her later revelations, she never lets the character slip into caricature. Her performance feels grounded, human, and believable. The vocals soared when they needed to soar and cracked when they needed to crack. There is control, but also freedom. One can feel the unraveling. She doesn’t just play Diana: she lives her.
The direction by Kelly Thomas also deserves recognition. This show is complex, both structurally and emotionally, and it requires a thoughtful, steady hand. Thomas makes smart choices that allows the story to unfold clearly without overcomplicating it. The pacing never drags, even in the heaviest scenes. Transitions are smooth. Emotional beats were given space to land. There was trust in the material and trust in the actors. Nothing feels forced. Nothing feels indulgent. The balance between realism and theatricality is beautifully maintained throughout.
The set by Joshua Scott is well done and creatively used with a moving table that fills many needs. The simplicity works in its favor. Rather than cluttering the stage, the design allowed the focus to remain on the family and their unraveling. Levels are utilized effectively, reinforcing emotional distance and closeness. Lighting also successfully sets the tone, and the sound balance is right on, by Chops Downward. The volume is consistently perfect, with no mic glitches or missed cues. In a show driven by music and underscored dialogue, this matters. It allows the audience to stay fully immersed.
What impressed me most about this production was its respect for the subject matter. Mental health is often portrayed either too dramatically or too lightly. This cast and creative team found the balance. There are moments of humor—because even in the darkest situations, humor exists. There are moments of tenderness that felt almost sacred. And there are moments of chaos that left the audience breathless. The emotional arc feels earned from beginning to end.
Content of this show does warrant a trigger warning. The depiction of bipolar disorder, grief, and the strain on a family system is not sugar coated. It is honest. It is painful. But, it is also beautiful and important. There is something powerful about seeing such heavy experiences happen on stage. It can be validating and in a way, it says, “you are not alone,” and even, “you’re going to be ok.” Theater at its best does that. It opens wounds carefully, not to harm, but to acknowledge. Performances like that of The Stage Door remind us why stories like this one deserve to be told.
INFO: Next to Normal at The Stage Door plays until February 21st at The Electric Theater (68 E Tabernacle, St. George, UT 84770). To learn more about the company and buy tickets, please see their website here: https://www.stagedoorutah.com/shows/nextto-normal.