By Val O’Bryan
With Next to Normal, Stage Door has done something rare and deeply admirable for a community theater: they have chosen courage over comfort. As the first company in the area to take on this emotionally demanding musical, Stage Door delivers a production that is musically strong, expertly acted, and overflowing with heart.
This is not an easy show. Next to Normal asks its audience to sit with discomfort, complexity, and vulnerability. Stage Door meets that challenge head-on with a cast that sings with power and precision while grounding every moment in emotional truth. Performances feel lived-in rather than performed, creating an intimacy that draws the audience into the characters’ inner worlds rather than keeping them at a safe distance.
Act I introduces us to a family striving (sometimes desperately) for balance. At the center is Diana, a wife and mother working to keep her household moving forward while navigating a mind that refuses to cooperate. Makayla Klumpp brings extraordinary vocal power to the role, pairing precision and control with raw emotional access. Her Diana is complex and credible, moving seamlessly between humor, resolve, and fragility without ever losing the audience’s trust.
Opposite her is Dan, a husband determined to hold the family together at all costs. Steven Olson plays Dan with quiet persistence and emotional restraint, embodying someone who believes endurance is a form of love. Together, Olson and Klump capture the devastating push-and-pull of a marriage under strain: two people orbiting each other, often pulling away, yet unable to let go.
Their daughter Natalie navigates adolescence while quietly absorbing the weight of her home life. Callie Rubio portrays her with striking clarity, revealing the immense burden children often shoulder in complicated family systems. Rubio’s performance is grounded and controlled, allowing Natalie’s frustration, isolation, and longing to surface naturally rather than theatrically.
Adding volatility to the household dynamic is Gabe, played by Reed Laudie, whose performance is electric and unpredictable. Laudie is dynamic and lively, commanding attention whenever he appears and injecting Act I with a jolt of restless energy that keeps both the family and the audience on edge.
Natalie’s world expands with Henry, a role that was double cast, with performances by Devin Neilson and Davin Smith. In the performance I attended, Neilson brought warmth and sincerity to the role, creating a gentle, believable counterpoint to Natalie’s guarded intensity and offering moments of genuine tenderness.
Rounding out the cast is David Leishman as Dr. Fine and Dr. Madden, who navigates the tonal shifts of these roles with impressive ease. Leishman moves fluidly between grounded seriousness and unexpected humor, offering moments of levity without undermining the gravity of the story.
What truly sets this production apart, however, is Stage Door’s commitment to caring for its audience as well as its artists. The company has hosted post-show talkbacks featuring licensed mental health professionals, creating space for reflection, dialogue, and understanding. This thoughtful addition underscores the company’s belief that theater can—and should—be a starting point for important conversations, not just an evening of entertainment.
That philosophy speaks to a larger truth about Stage Door as an organization. In a theatrical landscape often driven by ticket sales and familiarity, Stage Door makes a conscious effort to be different. Rather than relying solely on crowd-pleasing titles, they prioritize stories that challenge, provoke, and give voice to experiences that are too often overlooked. Next to Normal exemplifies this mission: it is a show that may not be easy, but it is necessary.
Patrons should be aware that the musical deals with difficult subject matter, and especially parents, may wish to familiarize themselves with the themes and content before attending. That said, it’s important not to confuse discomfort with offense. Characters in this story face extraordinary emotional strain, and they sometimes express that strain through raised voices, raw language, or moments that feel unsettling. These choices are not gratuitous. They are part of an honest portrayal of lives under pressure. To dismiss the show because it occasionally makes you uncomfortable is to miss the point entirely. This musical isn’t trying to shock, it’s trying to help us understand. Stay curious.
Much of this production’s success can be credited to director Kelly Thomas, an undeniable force behind the scenes. Her attention to detail and deep respect for the story are evident in every moment on stage. Thomas fosters a sense of trust and collaboration that allows performers to take emotional risks, and that trust extends outward to the audience as well. She is a conscientious storyteller who understands not just what the show is saying, but why it matters and audiences would be lucky to have the opportunity to engage with her and her process.
Rounding out this exceptional production is a creative and production team whose thoughtful work supports the story at every turn. Under music director Amy Gleave, the score is handled with both precision and sensitivity, allowing the vocals to soar while never overpowering the emotional core of the show. Choreographer Tino Smith approaches movement with intention, using it to deepen character and connection rather than distract from it. Behind the scenes, stage manager Kristen McPhie keeps the complex machinery of the production running smoothly, supported by assistant to the director CJ Adams. Tonya Christensen’s costume design grounds the characters in realism while subtly reflecting their inner lives, and Joshua Scott’s scenic and lighting design creates a flexible, emotionally responsive world that shifts seamlessly with the story. Sound designer Chops Downward ensures clarity and balance in a vocally demanding production, while Gwendolyn Scott’s props work adds texture and authenticity to the stage picture. Together, this team provides a strong, unified foundation that allows the performances and the story to resonate fully.
Ultimately, Stage Door’s Next to Normal is an emotionally moving experience that lingers long after the final note. It is brave, compassionate, and beautifully executed. If you have the chance to see this production, don’t miss it. This is community theater at its most meaningful: art that dares to tell the truth, invites conversation, and reminds us why stories like these need to be told.
The Stage Door presents Next to Normal, music by Tom Kitt, book and lyrics by Brian Yorkey
The Electric Theater, 68 E Tabernacle St, St. George, UT 84770
February 5-21, Thursday-Saturday at 7:30 pm, Saturday at 2 pm
Contact: 435-656-4407
Tickets: $19-25