By Angela Colombo

FERNDALE, Mich.–A friend once said that depression is a liar and a cheat that will say anything to lure a person into its morass of darkness and despair. In Next to Normal, it has a face and body, and commands us to know how strong it can be, parasitically preying on those vulnerable. In this play, we watch as a family struggles to cope with depression that has taken hold of mom and wife Diana Goodman, convincing her of things that no one else can see.

Next to Normal, a PAPA Weeze production playing at Slipstream Theatre Initiative, is a musical, told almost entirely in song like an opera. After its run Off Broadway, it won three Tony Awards in 2009, including Best Musical Score and the 2010 Pulitzer Prize.

In this story, we watch a suburban family, mother, father, one daughter, and son juggling the pressures of everyday life, taken off course by the charismatic and self-serving depression. At depression’s grip, they are unseated and lose what little control they might have had. It begs us to ask, what control over our lives do any of us really have anyway?

Diana Goodman, played by Diana Turner, depicts bipolar disorder with eyes that light up the stage, a euphoric smile and a quiver in her voice, followed by a plunge that is sharp. We are afraid of her breaking when she hits the edge, uncertain where or when that might be.

When Diana first meets her psychotherapist, he appears to her as a seductive rock star. Expectation coloring reality, what the hope for a miracle, anyone that might help, might look like when someone reaches the desolate place where there seem to be no further roads. Dr. Fine and Dr. Madden are both played by Patrick Wehner. Whener is compelling as the caring clinician who does everything within his wheelhouse to help his patient. His powerlessness against all efforts shows us that depression can run circles even around the pros.

Dan Goodman, the father and husband, played by John DeMerell, is a sensitive man who is watching his best friend and soulmate slip into darkness. We see Dan clawing to reach Diana but she is barricaded in fog and separated by a mental moat. The tenderness between Diana and Dan, played beautifully by both actors, is tangible. Dan duels with the personification of Diana’s depression, but depression proves tenacious and Dan lacks the tools and endless energy to match his foe. One thing is clear. Dan does not want to live life without her. His pain is palpable.

Natalie, the bright 16-year-old daughter played by Maryanna Lauter, feeling neglected and invisible, experiments with drugs she finds in her mom’s bag, attempting to numb herself from the chaos and hurt that daily barges into her world. Henry, Natalie’s pursuing, steadfast boyfriend played lovingly by Jack Sanitate, has a soothing, clear voice that harkens to Art Garfunkel, with his curly locks to match. He sings to Natalie that he will be “perfect for you.” Alex Macksoud plays Natalie’s brother Gabe, who we soon discover is not quite what he appears to be. Macksoud gives a strong performance as the mysterious sibling.

After seven weeks of medication and psychotherapy, Diana sings in a melodic voice that trebles to show her anguish and vulnerability, “I don’t feel like myself, I don’t feel anything.” Doctor replies, “Patient, stable.” We experience the frustration of the only choices being extremes with no middle ground. On one side is an end to the pain. On the other is loss of all sensation, including delight and joy that Diana sings about in the first act song, “I Miss the Mountains.”

As Diana battles to get better, her depression becomes more thug-like and cocky. With glee and arrogance, it defiantly sings, “I’m alive, I’m so alive!” not caring who it hurts or what is in its path as it bullies its way through lives, wrecking as it goes. It tells her there’s a world where she can go where there’s no pain, “a place where we can be.” Next to Normal touches deep places. Pack some tissues.

Slipstream is an intimate space, only 32 seats at level with the bottom stage. Live piano and percussion accompany the original score.  PAPA Weeze is scheduled to work with Monster Box Theatre in Waterford to bring this production back to life this February 28-March 15.  Keep an eye on papaweezeinc.org for future details.

In Next to Normal we see what depression does to those who grapple with it. We also find ourselves searching for a way to make it stop, that anything would be better than living like this. As Natalie tells her mom, she doesn’t want “a life that’s normal, that’s just too far away.” She says she’d be happy with next to normal.