Film Review: Next to Normal

Review by Raphael Kohn

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When it premiered at the Donmar Warehouse in 2023, it was already clear that the UK premiere of Tony Award-winning musical Next to Normal was going to be something special indeed. When it transferred to the West End, it was every theatre enthusiast’s dream that it would be preserved on film for all eternity. When it was announced that it would be filmed, these dreams came true. And when it receives its UK cinematic premiere in September, let me tell you now, it’s everything you wanted from it.

On stage, it felt intimate. All we had was six actors, six musicians (tucked away in the upper floor of the multi-storey set), and a relatively minimal set. It was the perfect way to set this moving and detailed story centred around Diana Goodman, whose struggles with bipolar disorder impacts on her family as they all try to work through it together. It’s not exactly the lightest story you can see on stage, but it’s certainly one of the most impactful you’ll see this decade.

Now on screen, it’s been gorgeously captured, preserving the show’s clever staging and use of space while also offering a closer view of some of the best performances of the last year. Expertly directed for the screen by original stage director Michael Longhurst along with Austin Shaw, there’s heightened intimacy as each actor’s intricate and precise performances are examined from mere feet away and projected in HD.

At its centre is Caissie Levy, whose simply sublime performance as Diana is worth the ticket cost alone. Delivering one of the most heart-wrenching performances I’ve seen in a long time, she matches her sob-inducing acting with a terrific voice that sounds just as good through cinema speakers as it did in the theatre. As she reaches the climax of her act one solo ‘I Miss the Mountains’, it’s as if time stops entirely, as does your heartbeat. If you think I’m being hyperbolic here, see it for yourself.

She’s not alone on stage though (nor is she the only award nominee for a performance in Next to Normal). As her son Gabe, Jack Wolfe is stunning, navigating his role from menacing to miserable masterfully. One moment, he’s curled up in her arms, the next, he’s borderline animalistic and stalking the dark corners of the stage; at all times, he’s mesmerising. To top it off, his honey-toned tenor is both innocent and frightening, with a rock-star quality at its loudest and a childish simplicity at its quietest.

Meanwhile, Diana’s husband Dan comes in the form of Jamie Parker, whose despair comes through magnificently in his strained solos and tortured acting. Constantly trying to keep everyone else afloat while neglecting his own needs, he develops into perhaps one of the most sympathetic characters of the whole show. All throughout, Eleanor Worthington-Cox as Diana’s daughter Natalie is a revelation, whose invisibility to her parents is truly upsetting to watch.

It's somewhat odd that this moving story is set to a rock soundtrack; or it would be to anyone who has not seen it before. Somehow though, it’s a masterstroke of writing. From heavier rock bangers as the action intensifies to gentler and quieter moments as the show explores meatier and deeper themes, Tom Kitt’s score and Brian Yorkey’s lyrics speak for themselves, as does the Pulitzer prize they won for it. But it’s not just the music itself that makes the film work so brilliantly – it’s been mixed to perfection for the screen. It’s practically unmissable in cinemas and you’ll regret watching it on your phone – coupled with the gorgeous filming, this makes for a true big-screen experience with some high-quality speakers to blast the music out loud.

In lesser hands, there’s a possibility that the story could have shown its age a bit, with its dated medical terminology letting cracks of inaccuracy through. But this isn’t a film about being absolutely medically accurate – it’s about family dynamics and healing together. And that’s where director Michael Longhurst comes in, whose deep understanding of these dynamics makes this work so beautifully. Exploring every inch of the dramatic range of the show, you’ll laugh, you’ll cry, and you’ll be in theatrical heaven throughout.

What was a fourteen-week run in the West End is now a permanent masterpiece, delivering every emotional gut-punch in HD. As the way we talk about mental health continues to develop in 2025, it seems ever-more important to have stories like this told so sensitively and passionately through theatre. When it premieres in September, it’s going to be an unmissable cinematic experience – don’t make the mistake of missing it. And also, don’t make the mistake of forgetting tissues to cry into. You’ll need them.

Next to Normal will be in cinemas from September 11th 2025. Full details can be found on https://www.nexttonormalfilm.com/

Photos by Marc Brenner, from the West End run at Wyndham’s Theatre