#london parker

[mccoppinscrapyard]

Read in 2023 (6/?)

Love & Other Disasters by Anita Kelly

❝ That each person could choose what brought them closest to belonging, the power in that. Knowing that one day, people might discover even better words for it. That there was only ever freedom in continuing to find new names for who we were, who we could be. ❞

[sincericida]

ANDREW GARFIELD and GRACE DELANEY

attends the Headline Gala screening of "We Live In Time" during the 68th BFI London Film Festival.

(X)

[pedroacrossthestreet]

he took his daughter to see the wild robot with him 🥺🥺🥺

[thesnappiestoperator]

I am what you want me to be And I'm your worst fear, you'll find it in me

Next To Normal - Donmar Warehouse - September, 2023

Taper: @lasagnatrades

Jack Wolfe is one of the best Gabe's I've ever seen and one of the most adorable

Stars: Caissie Levy, Jamie Parker, Jack Wolfe, Eleanor Worthington-Cox, Jack Ofrecio, Trevor Dion Nicholas

[chronophotographic-gun]

Dazed and Confused (1993)

[ghostlyarchaeologist]

Leverage S03E12 The King George Job.

[spideymjlove]

So happy 💕

[kleinblue52]

It's been a little over a month since my second time at Next to Normal London and I have some thoughts

(note: this was mostly translated from a review I wrote in Italian so some phrasing might sound strange)

Like many of you, I knew Next to Normal thanks to several videos of the original Broadway production, while my first time live was with the good Italian adaptation directed by Marco Iacomelli. It’s a musical that I have always appreciated and admired, but for some reason, there had never been the emotional impact necessary to make me feel like it was mine. The original version was chronologically closer to the end of the nineties than any subsequent production and I believe that the influence of the analytical deconstruction of the American nuclear family so relevant in the culture of those years (think of American Beauty) greatly influenced how the musical was originally conceived. In the direction, in the performances of the original cast, in the visuals, I have always found a coldness that led the libretto towards biting and detached social criticism rather than emotional involvement. Obviously, I do not believe this is a flaw, on the contrary. I really appreciate the analytical approach to social criticism and I believe that in this Next to Normal was revolutionary in its genre. But a lot of time has passed since then and many things have changed in the way we perceive the concepts of family, social relationships, neurodivergence and gender. The thing that surprises me most, from a personal point of view, is that along with all this I also feel changed and the more the years pass the more I realize that intellectualism is not everything and that it’s so important to consume art that expresses pure and raw human experience, that shows open wounds without fear of being accused of excessive emotionality. Until a few years ago, the social attitude towards artistic experiences so shamelessly sincere in showing feelings branded them as superficial. Today, I believe, the trend is changing, the new generations are discovering the importance of sensitivity and fragility that doesn’t need to be hidden, which is no longer accompanied by a sense of shame and inferiority. This is the new Next to Normal. It is no longer the show of 2008, it is no longer a successful exercise in style that wants to say in music what Sam Mendes had said in film, what Jeffrey Eugenides and Sofia Coppola had said with their Virgin Suicides.

Next to Normal is now pure and raw life. It is the human experience that shows itself in all its incoherence, without fear of going straight to the heart, without fear of staging a melodrama in which there are no winners and no heroes, definitely without fear of making the audience uncomfortable. An audience that, if truly sensitive, will find something of their own personal chaos in the chaos of what is shown to us.

The price of love is loss, but still we pay, we love anyway. This, in my opinion, is the key lyric of this new identity of Next to Normal, a lyric that in its most intimate nature had not really found expression in the previous and more “clinical” versions of the musical. It is a sentence that for the first time truly speaks to the heart and expresses a chilling truth, which we must all accept as a rule of life and which all the characters on stage must accept by extension. You will always lose what you love, in one way or another. It is not just about the loss of Gabe. Diana loses herself along with her son, but she also loses the love of her life and loses the chance to be a mother to Natalie. Natalie loses faith in the possibility of changing and getting out of the unhealthy relationships of her family, ending up a victim, with the only glimmer of hope represented by Henry. Dan loses the girl he had loved and the boy he had been and, for the love of Natalie, he manages to save his sanity, but he loses the opportunity to know what it feels like to be a father to Gabe. Caissie Levy, Jamie Parker, Eleanor Worthington-Cox all have the ability to manifest the most intimate, difficult, disturbing part of their characters. They are people who are losing themselves and everything they believe in and like anyone with a heartbeat, the attitude in the face of loss is fear, anger, an extreme attempt to cling to what can be saved. It is not always pleasant to see, as I said there are no heroes on that stage and the three actors lose themselves into performances that seem to have no safety net.

Then there is Gabe. I have great respect for many of the actors who played him in the past, but theirs was the Gabe suited to that historical moment. He was the perfect varsity jock that every American soccer mom wanted: handsome, athletic, self-confident. With an unsolved mystery inside, which emerged restless and dangerous. In this new era in which sensitivity is the only weapon to counteract the lack of humanity that the world offers us, Jack Wolfe gives us a Gabe who is delicate, fragile, ambiguous, selfish and desperately attached to "life".

Every look, every gesture, every expression aided by Wolfe's enormous expressive eyes show us a Gabe who is not the projection of an ideal, but something much more terrible: he is the projection of disease, a shield that Diana uses to protect herself from reality, not by creating a perfect version of the son she never had, but by creating a codependent version of a son who will never leave her. Everything in Wolfe's Gabe speaks of a morbid attachment that Diana creates as the only way to ensure that Gabe never leaves her, using him to push Natalie and Dan away, shaping him in her mind as a boy who will never replace his mother with another woman. Just this morning I read that Michael Longhurst, the director, openly said that he took inspiration from his adolescence as a homosexual boy for his version of the character. The very strong queer-coding of this version of Gabe is perfect for this new vision of a codependent relationship and elevates the drama of loss to something heartbreaking and apparently with no escape. The other incredible aspect of the new direction of this new Gabe, and of the performance, is that for the first time the character made me feel uneasy. I thought after this second viewing that it would take very few changes to transform this production of Next to Normal into a real psychological horror in which the ghosts are pure destructive energy linked to the lack of a clear break with their life on earth. Because if we move away from the vision of Gabe as a projection of the disease, if we accept Gabe as an almost supernatural manifestation of unresolved mourning, the character in Wolfe's hands takes on frightening twists. His Gabe has the attitude of a newborn who has grown only in body. His needs are still the primary ones of the child he was when he died, his attachments are so strong and primordial that they lead him to challenge anyone who questions them. His need to have his mother by his side leads him to be destructive, but with all the naivety of a child who does not understand the consequences of his actions. From this point of view, There’s a World becomes a moment that really gives you the shivers, full as it is of all the need of a child who cannot imagine anything outside of his own needs. A child who, out of excess love, hugs his puppy too tightly and ends up suffocating it.

Finally, since I have already gone on too long, I just wanted to add how that hunger for love translates in this production also into a need to rediscover love for oneself, which however in the borderline situation described in the story becomes an unhealthy condition: the continuous parallels between Diana and Natalie, masterfully interpreted by the two actresses, show us the dark and self-destructive side of Diana, trapped in an infinite cycle of need to rediscover herself and need to love her daughter that transform into envy for the potential that her daughter still has ahead of her and that she has left behind. These types of parallels are often found between the characters and find a touching expression in the physicality of the actors, as in the choice to create continuous references between Diana and Gabe's movements, even before the audience becomes aware of the bond between the two. Every acting choice, every directorial choice, everything brings into that rational and linear kitchen (the Bauhaus poster is brilliant) the most twisted, confused, desperate and breathless aspect of the human experience. Next to Normal, in this version, is truly not just a show, it is a mirror.

[sassysnowglobe]

Audio gift: Next to Normal - Last London Preview (21 August 2023) - Donmar Warehouse

Cast: Caissie Levy (Diana Goodman), Jamie Parker (Dan Goodman), Jack Wolfe (Gabe Goodman), Eleanor Worthington-Cox (Natalie Goodman), Jack Ofrecio (Henry), Trevor Dion Nicholas (Dr. Fine/Dr. Madden).

Last performance before Press Night. Recorded from the aisle, so you can hear the cast running up and down the stage. Also includes the outtro music after curtain call.

Side note: There was a single camera present in the audience to professionally record the show for the ‘archives’.

[antinouswilder]

the perfect loving family 🥹

[quinnfebrey]

pls give me your review of Next to Normal London youre the only one i trust

do i want to talk too much about next to normal? yes, i do. 

some disclaimers: first, i am extremely specific about my opinions on next to normal, so if you're thinking "that's a dumb thing to say!" well sorry but remember ive been marinating in this show for over a decade. also, this is just going to be a review of the principle cast! i did see a cover run but i wont talk about them here (feel free to ask about them though if you like)

alright, without further ado here are my thoughts on each actor + the staging/general thoughts:

diana (caissie levy):

i thought she did a great job overall, but i didn’t love some of the vocal changes she made to the songs. she has a beautiful voice, but her version of i miss the mountains was a little too “i’m performing!” for me. missed the needed rawness of alice here

i did really like her change of softening “can” in “i love you as much as i can” though

her acting was phenomenal, the moment with gabe's baby clothes was heartbreaking. she also had AMAZING chemistry with natalie, and i think her version of so anyway is my favorite that i've ever seen

i’m interested to see how she develops further into diana because i think there’s room for more understanding in the more nuanced parts of her character. she improved a lot as the show went on which tells me she struggles with the humor and manic side to diana that is more prevalent in act 1

dan (jamie parker):

i think his singing voice is perfect for dan, but his speaking voice was so strange to me. i don’t know if it was him trying to act around the accent or his true interpretation of the character, but a lot of his dialogue didn’t work for me the way his songs did. like i would be absolutely in love with a number and then he'd speak and i'd be thrown out of it i don't know

his acting was great though, i really enjoy this goofier version of dan than the original version. he's more playful and i really like that it humanizes him more and also helps bridge the dan that fell in love with diana and the dan of today

he's also i think the first dan i've seen play the role with so much anxiety? like clinical anxiety, he's basically having a panic attack at the end of i'm alive reprise/during the break. i really really liked the nuance that it brings to dan

gabe (jack wolfe):

his voice is great for the role, and the way he looks too just fits with the character idk really good casting here

he was definitely less creepy than i felt the original version wanted him to be, i haven’t decided if i like that or not. i think it added more to gabe’s development as a character, but i think took a little away from the fact that gabe is not actually a real person

he seems like less of a comfort object for diana in this version as well, which again i don't mind but changed the dynamic. this gabe felt more attached to the whole family

REALLY good solo in light, heartbreaking sweetness in i dreamed a dance

natalie (eleanor worthington-cox):

i absolutely LOVED her. she was by far the standout for me in this cast. her acting was perfect, she clearly understands natalie incredibly well, and her voice is wonderful too. very good understanding of the purpose of the songs.

she made a couple dynamic changes during catch me im falling that i thought were strange, but i could also see that coming from her trying not to copy the original

i think her natalie is the most scared that i've seen it played, which worked well with this interpretation of dan. it all built up really well to her breakdown in hey#3

i also felt a stronger connection between dan and natalie in this version more than i have with any other, so light hit a lot harder

henry (jack ofrecio):

i feel bad about this one but honestly i really did not connect with his interpretation of henry. that’s the nicest way i can say it

he seems like such a sweet guy and his voice is absolutely gorgeous, but... that's kind of where my likes end

he didn’t seem to understand any of the jokes he was telling because he couldn’t make any of them land (and he’s a very comedic character so what happened bro 😭)

he was too “nice guy." henry is written in a way that can come off really insensitive and whiny and it takes the actor bringing it to life to get away from that. he just didn't seem to add another side to it

for example, when he says “then i’m sure they will be” during catch me i’m falling i wanted a little more… i don’t know, hesitation or disbelief in himself? and when he says “why do i get denied” i was just like my god bro she’s dealing with real shit, get over it. acb’s delivery of that line comes across way more as like. im hurting because i don’t know how to help you, please let me help you. this guy was just a whiny boyfriend.

again, great voice, but everything besides his singing either just felt very flat or was aggravatingly annoying to me.

madden/fine (trevor dion nicholas):

honestly i don’t usually have strong opinions on this guy. his voice was great, he did a solid rockstar.

his biggest part for me is at the end when he’s trying to convince diana to stay in treatment. it’s the first time you see his douche doctor mask fall and you realize he genuinely believes his way is correct and doesn’t understand why it isn’t working. i think he did it really well, i’ve never seen a madden/fine do it with so much anger but it actually worked for me 

staging:

honestly i applaud them for being brave enough to change this much. having a real set already helps me separate this revival from the original run

i think the lack of true set in the original adds to the tone of the show, though, so this production did feel very different and more concrete which made some of the weirder blocking not work as well (like during my psychopharmacologist and i). instead of feeling more abstract and conceptual it was like oh They're In A House

but i don't necessarily think it's a bad thing, i just think it makes it a slightly different show and a person's preference will probably just be which one they saw first. i'm sure people who see the london version for the first time will see the original and wonder where tf everything is lol

i also seriously missed dan wiping up during i’ve been (i know he still does it but the double bucket is SUCH an effective stage trick)

and i missed gabe's general parkour, again him really just owning the stage like that helps him feel like not a real person

my one criticism of the staging is that in my opinion it felt cluttered and busy at times

general pros:

the kids felt younger, particularly gabe (even tho the actor is older than aaron and kyle were?? he just looks like he’s 14 i guess), which i think changed the tone a little for the better. makes them more sympathetic

the band ROCKED. slight mixing differences but not unwelcome 

i loooooved this version of maybe. literally every second of it was perfect. 

general cons: 

i don’t know if british people are just irritating or something but the jokes were not hitting unless it slapped them in the face. they also seemed to miss a lot of references like the one to macgyver, one flew over the cuckoo’s nest, sound of music, but they laughed at the portland joke EVERY TIME? lmao idk

why the balloons lol cut that pls

i’m probably missing soooo much so pls send specific asks about anything in the show (with or without my opinion attached lol) and i’ll do my best!

[sincericida]

ANDREW GARFIELD

(and very special guest) attends the Headline Gala screening of "We Live In Time" during the 68th BFI London Film Festival.

(X)

[tinas1469]

Tomhollandbr: Any announcements coming? 🤔

Tom Holland participated in a meeting with the president of Sony Pictures Entertainment, Tom Rothman, yesterday afternoon in London.

[thesnappiestoperator]

Those weeks full of joy, then a moment of dread Someone simply said your child is...

Next To Normal - Donmar Warehouse - September, 2023

Taper: @lasagnatrades

Stars: Caissie Levy, Jamie Parker, Jack Wolfe, Eleanor Worthington-Cox, Jack Ofrecio, Trevor Dion Nicholas

[derekeads]

"Dazed & Confused" poster by Derek Eads