BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL

BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL

Theatre-goers familiar with the familial musical drama Next to Normal would never take their seats expecting a good time. Such is not the purpose of Tom Kitt and Brian Yorkey's Tony and Pulitzer Prize-winning piece that divided New York musical theatre fans in half in 2009. Through substantial mixed reviews regarding both performance and composition, even the toughest critic of the show must applaud the effort to bring the abnormal to the stage in a completely relatable way. That is to say, Next to Normal audiences find themselves having deep emotional responses, whether they like it or not, because each family member reflects something relevant in our own lives.

Slow Burn Theatre Company of West Boca is already known for having a penchant for the dark and slightly off-centered musical and has enjoyed a few mostly successful seasons with hits such as Side Show and Sweeney Todd. Therefore, Next to Normal fits perfectly into its mission to produce a different kind of musical theatre, separate from the typical feel-good traditions of a large-scale musical. With a cast of strong local singer-actors, the company breathes life into this challenging piece in such a way that we forget about its technical rigors and are taken on an emotional rollercoaster.

The family unit is led by Sharyn Peoples who plays manic-depressive mother Diana and desperately supportive husband Dan played by Matthew Korinko. The two work wonderfully together and create a relationship we know will never find peace but root for regardless. Peoples relies on her strong vocal chops during the beautifully reflective 'I Miss the Mountains' and magically sings through sobs and tears by the end of 'Why Stay.' Korinko brings a soft sensitivity to Dan that makes their failed marriage even more heartbreaking as he stays completely still while Peoples' nonchalantly exits after 'So Anyway.'

Anne Chamberlain does a fantastic job as their daughter Natalie, an angsty teenager who resents her mother but eerily mirrors her issues. If you aren't already in tears, her resolution to stay by her father's side and strength during his breakdown will surely leave you a complete mess. Bruno Vida is a strong ghost of a dead son Gabe, lingering in shadows and refusing to leave his parent's souls. His 'I'm Alive Reprise' in Act Two is decidedly more creepy than the first and makes us resent his presence rather than mourn his absence. Jason Edelstein finds lighter moments in his cute and naive Henry and Clay Cartland hits the right notes of Diana's unsure doctors playing with medicine.

Most notable in Slow Burn's design of the production is Sean McClelland's stark and intricate layered set. His use of windows and portals left lighting designer Lance Blank a perfect canvas on which to create shadows and colors. Manny Schvartzman's musical magic was evident in ensemble numbers marked with dynamic subtlety and clean vocal blending. While only playing West Boca Performing Arts Center until November 2, this production will be Slow Burn's first transfer to the Aventura Arts and Cultural Center playing November 7-10.

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BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL
Clay Cartland, Bruno Vida, Sharyn Peoples, Matthew Korinko, Anne Chamberlain and Jason Edelstein in Slow Burn Theatre's NEXT TO NORMAL. Photo: Gemma Bramham

BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL
Bruno Vida and Matthew Korinko in Slow Burn Theatre's NEXT TO NORMAL. Photo: Gemma Bramham

BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL
Bruno Vida, Clay Cartland, Shayn Peoples and Matthew Korinko in Slow Burn Theatre's NEXT TO NORMAL. Photo: Gemma Bramham

BWW REVIEWS: Slow Burn Theatre Forces Audiences to Feel During Emotional NEXT TO NORMAL
Matthew Korinko in Slow Burn Theatre's NEXT TO NORMAL. Photo: Gemma Bramham.

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Michelle Petrucci A North Jersey native, Michelle grew up in the dance studio and then soon called the theatre her second home. Professionally, she has used her passion for dance and musical theatre to lead her to a fulfilling career as a performer, choreographer, director and educator. She has toured the country in the First National Tour of Chitty Chitty Bang Bang, served as the Dance Captain of the National Tour of Camelot, spent months at sea as a lead singer/dancer for Princess Cruise Lines, and has been seen regionally in such shows as A Funny Thing Happened on the Way to the Forum, Pal Joey, Fiddler on the Roof, West Side Story, Pippin and Company. In Boston, her choreography for Pal Joey was nominated of an IRNE award. Upon relocating to Florida from New York, she choreographed the Florida Premier of Snoopy The Musical under the direction of co-creator Arthur Whitelaw, Urinetown and Bat Boy: The Musical at Area Stage Company in Coral Gables as well as Lippa's Wild Party for Outré Theatre Company in Boca. She was also seen in the Carbonell Award-winning production of Hello Dolly at the Maltz Jupiter Theatre. Michelle is currently on faculty at Dreyfoos School of the Arts in West Palm Beach where she teaches musical theatre dance, choreographs and directs. She earned her BFA in Musical Theatre with an emphasis in Dance from The Boston Conservatory and is a proud member of Actors’ Equity Association.


 
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