Moving from behind the curtain to center stage: ‘Next to Normal’ makes its debut

The lights dim as a shadow is cast over Whitman Theater as Alyssa Batcheler ’26 makes her stage debut before a scattered group of directors, managers of all crafts, and two lucky prospective Class of 2030 students getting an early preview of Princeton theater life. A soft murmur of clicking keyboards fills the background as final notes are taken. In just a couple of days, the year-long process for the production of “Next to Normal,” directed by Emily Boyd ’28 and Karin Zimba ’27, will be distilled into an impactful two-hour performance. 

In “Next to Normal,” we follow suburban mom Diana’s 16-year-long struggle with bipolar disorder, acting as witnesses to her negligence of her daughter Natalie and her battles with her husband Dan over her obsession with her son Gabe. The story presents Diana's head-on confrontation with trauma, and the price of not letting go of the relationships closest to you. The Pulitzer Prize-winning rock musical holds a special place for both directors, and its unique messaging played a role in securing approval from the Princeton University Players (PUP) Board.  With dozens of applications ranging in genres and messaging, only a handful of groups survive the full application and approval process. 

Starting the process in the Spring of last year, Zimba and Boyd knew that their proposal would stand out against the lighter and more fairytale-like productions from the previous season. “There was a lot of comedy last year. So, I really appreciate that we were bringing something that really grapples with every dark part of the human experience, but [is] still really uplifting in the end … I resonate so much with how it has a happy ending without having to have all the answers,” shared Boyd in an interview with The Daily Princetonian. 

From the start of the practice run that night, the commitment to the role of Gabe shown by actor Morgan Taylor ’27 was hauntingly memorable in portraying his strained relationship with his mother, Diana, played by Batcheler. On stage, the heavier tones in both dialogue and singing weigh you down in your seat as you witness the push-and-pull dynamics played out between the small cast. 

Focusing on the darker struggles Diana goes through before the audience and capturing the seriousness of her struggles with being bipolar was something Batcheler had to build on with no prior experience. “Working with the director, Emily, who is amazing, on the nuances of that scene and trying to figure out how to both emote through movement and through song during that scene was just a really fun challenge,” Batcheler explained to the ‘Prince.’ With this Thursday being Batchelers’ first stage debut, despite years of working in theater behind the scenes, there were certain challenges she had to overcome to properly capture her character’s journey. “The main thing I knew was that I really needed to figure out how to give nuance to emotional moments. So it’s not just reading as sad or upset, but really thinking about the nuances of those emotions in different scenes.”

While the main tension is driven through Diana’s inner conflict with her bipolar disorder and how her relationships with her family are affected by it, there is an external character that also catalyzes a pivotal change in Diana. 

Her relationship with Dr. Madden, played by Angela Kwon ’26, is a reminder of the repeatedly unsuccessful solutions to treat Diana’s condition. Kwon plays into the stiffer, more monotone personality of Dr. Madden, embodying the mental health system that failed Diana. In a tense moment during one of many check-ups, Kwon slams a stool to the floor of the theater, putting a hard stop to Diana’s protests to treatment. The abruptness portrayed in this scene forces Diana to confront what she's been running from this whole time. “Dr Madden … is a doctor [who is] sympathetic but also very firm about what she needs and what she requires the patients to do,” explained Kwon. Yet, this authoritative side of the character begins to break down as the story progresses and Diana’s hardships worsen, leading Kwon to act on this shift and become more sympathetic as a character. 

Although the cast draws the audience into their world of harsh realities and vulnerable truths, it’s the band and tech that really keep you immersed in the musical. Throughout the production, the lighting was subtle and played a more background role in scenes. However, later on, during a doctor’s visit, a striking light sequence lit up the theatre and enhanced a lighthearted comedic sequence, effectively breaking up the heavier tones set prior. Furthermore, the pit band both complements the vocals and has its own moments to shine, including standout solos highlighting their bassist, Lucien Chidester ’28, and drummer Eliss De Guzman ’29. 

For Music Director Zimba, the value of music plays a transformative role in conveying the musical’s integrity. “As a musician, I like doing things through music. It’s the strongest way to get this message across and have it be understandable and presentable to so many people in this beautiful way.” 

While the final product makes its debut in the Whitman Theater, the months of building behind the scenes took place in rooms across campus. From the first script reading on random dining tables and pit rehearsals taking place in any available space, it wasn’t until the week of showtime that the production was finally able to pull all the pieces together under one stage light.  While this process was not effortless, it was definitely rewarding for those involved. “Not every single thing is going to come together immediately, and that was definitely something that I feel like there was tension about and iteration of in a way where it feels so seamless now. And that makes me so happy on a personal level,” said Boyd. 

From the first ideas in the fall of 2024, to the initial proposal and planning in the spring of 2025, to taking center stage in the spring of 2026, Boyd and Zimba are now approaching the culmination of their efforts with their opening night this Thursday. All 135 minutes on stage are the result of hours of work and support from the cast, the tech team, and the pit. Even though this was only one of the first official dress rehearsal runs, the polished individual work more than comes through with both cast and crew.  

If you’re looking for a grounded show that thrusts you into the harsh reality of mental health struggles, then come to Whitman Theater starting at 8 p.m. on April 9, 10, and 11 and at 2 p.m. on Sunday the 12th.

Amanda Hugas is a member of the Class of 2027 and a Senior Writer for The Prospect. She can be reached by her email at ah0942@princeton.edu.