The Sandbox Collective’s “Next to Normal” is a cathartic presentation of what it’s like to be human: to feel, to grieve, to love, and to heal

Hearts are laid bare in The Sandbox Collective’s “Next to Normal,” with its sparse staging leaving the cast open; their only veil (if it can even be considered that) are the lights and shadows cast beyond their control. What is left is a vulnerable display of soul, not just of the story, but also of each character and actor.

“Next to Normal” follows the Goodmans, particularly the matriarch Diana, diagnosed with bipolar disorder, and how their entire family navigates grief, loss, and the effects of Diana’s treatment not just on herself, but on her relationships, too.

The musical by Brian Yorkey and Tom Kitt debuted on Off-Broadway in 2008, and was first staged in Manila in 2011. It was staged again in 2020, but its run was cut short by the pandemic lockdowns. This landmark piece of musical theater, revolutionary in its time for being the first to tackle mental health openly, finds its way back to the Manila stage, and it remains as timely as ever.

“Next to Normal” was groundbreaking in its debut for opening discussions on mental health on the mainstream stage. And while the subject of mental health is no longer unconventional, especially in theater, the theme remains relevant, especially for a Filipino audience.

In studies by the Philippine Mental Health Organization, major depressive disorder, schizophrenia, bipolar disorder, and anxiety disorders are among the most common mental health concerns in the country. And despite a now wider conversation being opened regarding mental health, there remain barriers to accessing care, with stigma and costs primary among them.

In “Next to Normal,” we witness and observe mental health concerns through a familiar lens: that of a family. 

While most of the stigma these days alludes to mental health as “arte lang” of Filipino youth, “Next to Normal” proves it’s not simply a “phase” the young go through. With Diana at the center of the story, we are shown that mental health concerns all ages, affecting not just the individual, but all their relationships, too.

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Meaningful staging

Sandbox’s staging, directed by Toff De Venecia, with stage design by Mark Dalacat, is bare, with only platforms denoting the different spaces in which the scenes take place. Thus, the emphasis is tenfold on the cast, with nothing else for the audience to zone in on except the actors. While the only major set pieces are an eclectic (yet meaningful) variety of chairs, this version of “Next to Normal” (though, in all honesty, the first and only version I have yet to see myself), is packed with layers of meaning.

It opens with a scene not exactly in the script. On a wall is an excerpt of “Sonnet XCIV” by Pablo Neruda. “Absence is a house so vast that inside you will pass through its walls and hang pictures on the air,” the wall reads, which Gabe (played by Vino Mabalot and Benedix Ramos) carefully erases word by word with spray paint. This act of vandalism may at first glance seem like a mere reflection of his character as a mischievous teen, out in the dead of the night—a simple setup for the audience to get a first glimpse into Gabe’s personality.

But his erasure proves to be intentional. He leaves the phrase “absence is a house,” and that house, we soon learn, is the Goodman household, with the one absent being Gabe.

The irony is that the full sonnet talks about the speaker wanting his beloved to live a full, vibrant life even after his passing. “If I die, survive me with such sheer force that you waken the furies of the pallid and the cold,” Neruda writes. “I don’t want your laughter or your steps to waver, I don’t want my heritage of joy to die.” Yet by contrast, the fullness of life is seemingly held hostage by the grief and loss lingering in the Goodman house.

Each person deals with this in different ways. Natalie, the high-functioning only daughter, channels her frustration over feelings of neglect by trying to be perfect and overachieving. Dan, the husband and father, bears an admirable tenacity (or maybe better called misplaced or forced optimism. “It’s gonna be good,” he says), being supportive and caring, making strong attempts to hold the family together. And then there’s Diana, who seesaws between manic highs and depressive lows, and, initially unknown to all—her family and the audience alike—experiences delusions in the form of a teenage Gabe, who we later learn had died in his infancy.

And so we see the series of treatments Diana undergoes, from taking a plethora of medications to trying talk therapy, hypnosis, and later, electroconvulsive therapy.

Clarity in performances

Both sets of casts for Sandbox’s staging were impressive in handling this story with utmost care and honesty. Shiela Valderrama Martinez as Diana, opposite OJ Mariano as Dan in the first set, delivered each character with such clarity. Much appreciated was Omar Uddin’s empathic warmth as Henry where, through his subtleties and nuances, his care for Natalie felt well-paced and sincere.

It was the performance of the second set, featuring Nikki Valdez in her theatrical comeback as Diana, Floyd Tena as Dan, Jam Binay as Natalie, and Benedix Ramos as Gabe, that proved more effective and affective. There was a rawness that gave each song, each expression, each emotion more weight and more soul, especially in Act 2, such as in scenes like “Maybe (Next to Normal)” between Natalie and Diana, the only full conversation (and understanding) scene between mother and daughter; and Dan and Gabe’s moment in “I am the One – Reprise.”

The use of space was also noteworthy in this staging. While most of the action takes place on the platforms across center stage and downstage, the upstage area is taken up by the band, and spaces with translucent screens, which, when obscured seem to represent areas of memory or thought, while when uncovered, represent other physical spaces. The band is also, for the most part, obscured by the translucent screen, which is removed by a key point in Act 2—a pivotal moment perhaps that represents the characters finally facing the music, truths being revealed. 

Despite the sparse staging, Sandbox’s presentation of “Next to Normal” is packed with so much meaning and depth. 

The only challenge and somewhat of a low point for the production is the inconsistencies in some aspects of tech, particularly audio clarity; some slight imbalances in levels of music versus voices and, depending on where you’re seated, the lighting especially for the areas upstage. These matters might only be typical opening/preview weekend issues though.

Timely and timeless

“Next to Normal” continues to prove its relevance in the conversation about mental health. Deeply affecting, it not only brings to light the reality that everyone fights their own silent battles, it also brings forward other important ideas. The argument about quantifying grief is especially timely for many, especially in this post-pandemic era. 

To hear Diana question her diagnosis and treatment, to question why her grief is being quantified by the amount of time it takes, and to argue that perhaps the problem isn’t in her brain but her soul, makes one reflect on the ways we as a society also look at grief and healing. To an extent, it has also made me think about the idea of forgetting—how it doesn’t guarantee the most peaceful or effective way to move on or move forward. 

The vulnerability laid out on stage and equally expected of its audience makes The Sandbox Collective’s “Next to Normal” an even more deeply affecting, cathartic presentation of what it’s like to be human: to feel, to grieve, to love, and to heal. 

“Next to Normal” runs until Feb. 23 at the Power Mac Center Spotlight Black Box Theater, Circuit Makati. Directed by Toff De Venecia, with musical direction by Ejay Yatco, choreography by Stephen Viñas, production design by Mark Daniel Dalacat, lighting design by Gabo Tolentino. Starring Sheila Valderrama and Nikki Valdez as Diana Goodman, OJ Mariano and Floyd Tena as Dan Goodman, Sheena Belarmino and Jam Binay as Natalie Goodman, Vino Mabalot and Benedix Ramos as Gabe Goodman, Omar Uddin and Davy Narciso as Henry, and Jef Flores as Dr. Madden.