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The beauty and the magic of

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this show is there's no good guy 
and there's no bad guy.

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And so it was very interesting 
to see who people latched on

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to based off 
their own lived experience,

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who they felt was in the wrong 
who they felt was in the right,

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what that gray area is

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like, much like 
the issue of mental health,

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which is what 
our show is all about.

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There's so much gray area an 
there isn't a clear cut answer.

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And the show doesn't 
try to do that.

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It doesn't 
try to present anything

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in this very concrete way.

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It's just here are these people, 
here are their struggles,

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and let that wash ove 
you and take away what you will.

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And that's part of the magic.

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We often

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go to see a musical to escape 
and I think this musical you go

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to to to delve in even further,

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♪ Im alive, Im alive, 
I am so alive ♪

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♪ And Ill tell 
you the truth...♪

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The Donmar Warehouse

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has an incredible tradition 
of staging musicals.

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And because of that, 
I was really keen to try

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and program a musical 
each season when I was there.

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I never saw the origina 
production of “Next to Normal.”

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I knew of it.

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It's the show that I was most 
asked to program

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at the Donmar Warehous 
because it hadn't been to the UK

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and the superfans 
were clamoring for it.

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What the heck?

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One of the producers 
in my team

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told me to listen to it 
and I put it on my earphones

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one night runnin 
and it just instantly sunk in.

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I think the pandemic shifted 
British consciousness

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and the conversation 
around mental health

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and mental illness 
significantly.

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When we returned, I found that 
with colleagues, with friends

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and become much more commonplac 
to talk about being in therapy

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or being on medication

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and have done plays 
about mental illness,

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and I've sort of experienced 
the extreme outpouring

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that play can have 
on its audience.

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The reaction of the audience is 
huge, and I think it really

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demonstrate 
something in the British psyche

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about the taboo of not talking 
about mental illness

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I think is still really strong.

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The shame attached to it

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about how we hide those things 
and the struggles.

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And so I felt it was a story 
that really would resonate.

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It's been four weeks and I' 
like to try something new today.

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Sometimes when these stories 
are hard to tell.

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Hypnosis can be helpful.

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I had just got back to the U 
after recording the cast album

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for my Broadwa 
revival of “Caroline or Change,”

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and it had just been Grammy 
nominated

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and we were all very excited,

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and I was sitting listening 
to repeat on my kitchen

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and I could just hear Caissie 
Levys perfect vocal,

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delivering the tinies 
catch of emotion in her voice,

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suggesting fathoms of feeling

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that she didn' 
like deflect away some comedy.

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And I just thought

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I think she's Diana.

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Sitting right next to me here

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is Caissie Levy,

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who I mean,

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where do you even start 
with Caissie? Casey's work?

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Truly!

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Caissie's work.

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it really speaks for itself.

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Caissie has originated 
much of amazing roles

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as the original Els 
in “Frozen” musical on Broadway.

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Incredible in the 
“Hair” revival in 2009.

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Thanks sweetie.

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I mean, amongst

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so many other things, “Caroline 
or Change,” “Leopoldstadt.”

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And this is incredible.

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But I think more 
so than this work is like

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the most human, the most kind, 
the most like ready

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present actor to work with.

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Needless to say as well, 
incredibly intimidating

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to turn up to rehearsal 
to know that

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Caissie Levy was going 
to be there.

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So then to find out 
that she become such a quick

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best pal is a huge joy.

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So we're 
very lucky to have you like.

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Thank you.

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You know the, 
Trevor Dion Nicholas,

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We have a veteran of huge 
scale theater

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who can hold his own 
in some of the biggest houses

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and concert halls 
that are available.

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And we know that 
with your personality

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and your talent, your voice, 
you can fill it.

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But we also now know

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that we can play 
in a small, intimate space

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and keep things just on a

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completely naturalistic level 
and that amazing,

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combined with the generosity 
that we found in the company,

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is this is a real treat,

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kind of the best you can hope 
for as someone to work with.

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I wanted to think about who Gabe 
would be in this production.

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I think the idea of the American 
jock is not a trope or a type

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we have as much of in

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the UK and I was thinking about 
perhaps now, 15 years later,

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who would be the son of 
the Diana might be imagining

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she had that her son 
would grow up to be and Jack

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delivered something 
He just played the truth of it.

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But his presence

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is extraordinary 
and I was so excited

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to have him take the role

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♪ The memories will...♪

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This man needs no introduction.

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But for those who know Jack, 
I think everyone,

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everyone knows

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part of who you are 
if not like what you represent.

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I think you're so warm 
and so lovely

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and I love you and admire you.

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And to take such 
an iconic role. Yes.

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And to completely reshape i 
not only takes such braveness,

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but also to be able to do it 
so impeccably

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that you would never know 
that there was

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a completely different 
persona to Gabe.

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You redefined it. 
Absolutely redefined it.

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And that is beautiful to watch

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and was beautifu 
to witness in the room as well.

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Yeah.

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Jamie Parker, I know i 
an amazing Shakespearean actor

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as Harry Potte 
in the original “Cursed Child.”

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But I did know him 
as a musical theater

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singer, crooner, 
perhaps originally.

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♪ ♪

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I have to take my dad, bro, 
Jamie Parker, as well.

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Like, I love this man.

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Okay, So if you have seen 
of course, “The History of Boys”

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and like the legend of that, 
but also it's

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this is Harry Potter, 
like opening it

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here on the West End,

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going to Broadway

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and playing one of the most 
iconic characters

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in literature 
and bringing it to life.

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To take a role 
that has so much expectation

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and subvert all that expectation 
by just playing it honestly

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and playing it beautifully.

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And I've been I've been a fa 
of your work on multiple levels.

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Your work is is impeccable 
and you, you,

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you go with your details 
down to the fingernails.

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And I will always appreciate 
the depth of nuance that you

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put in there.

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And the chance 
to meet the younger actors

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through a really thorough 
audition process.

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I mean, Eleanor 
Worthington-Cox

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won the Olivier, age 
12 as Matilda.

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So, you know,

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she's no stranger to musicals, 
but it was

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when she walked in the door 
and showed herself

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to be so clearly her mother's 
daughter with Caissie Levy.

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We knew we 
were on to something.

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This is Eleanor Worthington-Cox.

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She is an incredibly 
accomplished woman.

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She won an Olivier 
for being the original

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Matilda. Went on to many, 
many television roles,

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many theater roles.

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She she's nominated 
for her performance in this.

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Yes. She's brilliant. 
She's kind.

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She's all heart.

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Im gonna cry!

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And I love our scenes together. 
- I love ours.

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This is Jack, 
who is starting in “From Here

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to Eternity” and then has now 
had his Palladium debut.

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I remember these things!

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And is now our wonderful, Henry, 
and couldn't be more magical.

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As a person 
and a partner on stage.

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I felt held every single night.

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It's not easy.

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Yeah, literally, just while 
I sob onto your shoulder

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and literally snot 
and cry onto you every day.

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And that's so special

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that we were able to hold 
that every single night

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and look after each other while

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also abusing each other and 
calling each other silly names.

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So thank you.

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The rehearsal process 
began with the company

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familiarizing themselves 
with Toms amazing music.

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I think his score is rocket fuel

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to an incredible story, 
to some really punchy things.

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But it's complicated. It's hard.

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You need to be powerhouse 
singer.

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So we start the process.

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When I got to musical with that

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a week of learning the music

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with director, 
Musical Supervisor,

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When anybody asked me 
like in these months

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what the experience was like,

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I've been like,

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I've never felt so safely 
supported by a creative team,

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but also by like 
the full company.

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There's this beauty 
in what we were able to trust

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and explore and play with, 
with each other in the room.

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And I think the whole way 
we approach the process of

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we spent that first week 
just making sure

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we're all on the same page.

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I am really grateful

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to a company called 
“Applause for Thought”

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that we worked 
with that Donmar Warehouse

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to support the acting company 
and the company more widely

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when we're taking on a play 
with issues

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of this seriousness. 
I was really struck by

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how once we started 
working on the piece

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day after day, 
people would share stories

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in the company 
and the wider company,

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the creative team and 
production staff.

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People would just start saying, 
“Oh, I've experienced that.

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I had a period of my lif 
when that my depression was bad.

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I was on medication for this. 
I have bipolar.”

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It's things that people don't 
share

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people were sharing

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and the work was something 
that being channeled,

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and I think we felt that 
in the room.

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But the company “Applause 
for Thought”

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gave us a really supportive

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process.

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We both

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sort of looked at bipolar 
from a clinical perspective

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and looked at the kind of

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diagnosis the character 
and understood it from that.

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But also they did some sessions 
with the cast

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to support them 
in the playing of it.

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And I have never felt cast, 
feels so safe and strong

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in what they were doing, 
which I think is essential.

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In the last rehearsal process 
with Mike and Ann and Nigel,

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they created this space

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and we hear a lot these days 
about like safe space.

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But trul 
I feel like that rehearsal room

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had some magic to it 
because

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we had the luxury of time

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to really get to know each other 
and like, make this piece

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what it should be now,

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which is very different 
than when it debuted in 2010.

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You know, or 2009.

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And then I brought rehearsal 
room experts to the rooms.

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We brought professionals 
from the health care

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industry, psychiatrists, people 
who specialize in bipolar

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who, um, delivering EST 
to help us really try and get

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into the character's mindsets 
and to empathize with what

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they were experiencing.

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For me, a lot of the challenge 
was the authenticity

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of these health car 
professionals in different ways.

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And like

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there was a fun challenge 
in that there was like,

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we know the pills, 
that was its own thing,

251
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but then there's

252
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that feeling of triumph in it

253
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when you nail it and like 
that was exciting to me.

254
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Then I try to get on my feet 
and play with my movement

255
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director and let the characters 
live in space.

256
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Once all the parts 
were together,

257
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we had all of our team together, 
the family and the cast,

258
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and it was exciting.

259
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I didn't have concerns about th 
gravity of the subject matter.

260
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I had concerns abou 
representing it authentically.

261
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As a director, 
you're always trying to honor

262
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the author's intentions 
and to represent

263
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the themes, the subject, 
the people authentically.

264
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And millions of people 
live with bipolar

265
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and their story is important.

266
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And there is that stigma often 
attached to how bipolar

267
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is represented 
famously, on screen, in stories.

268
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So getting that right 
was really important to me.

269
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I'm up for doing one more.

270
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So yeah, yeah.

271
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I loved filming this show.

272
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I've had the opportunity 
to capture digitally several

273
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of my productions 
and each time I do it,

274
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I really enjoy the process 
of watching actors

275
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adapt their performance 
for the camera

276
00:11:51,833 --> 00:11:53,066
and thinking about

277
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where the camera needs 
to be placed

278
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and the rhythm of the edit 
and all those amazing things.

279
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We've shot it over 
three evenings

280
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and then two afternoons 
we built over the stools

281
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that we have all the movie 
camera shots that we wanted

282
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and it a seven camera set up 
and it was really amazing

283
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to have

284
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that amount of material and tha 
number of options in the edit.

285
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I think so often in capturing 
the stage productions,

286
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the shot choice 
just can't be interesting enough

287
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to do the work justice.

288
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But we were really able, 
I think, to get the shots

289
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we needed to do 
justice to the production

290
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and the performers 
and their performances

291
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stand up so beautifully.

292
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In extreme close up, I thin 
is a testament to those actors.

293
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I think it is incredible 
what they do.

294
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So the chance to capture that

295
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in a new medium 
that has new rules

296
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is the chance to grow 
as an artist, is a gift.

297
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And I haven't spent 
as long on an edit

298
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on anything else.

299
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And it was a joy to keep that 
close to its material so far.

300
00:12:50,933 --> 00:12:54,233
Tom Kitt was able to join u 
in London when we were creating

301
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this live capture to spend time 
in Pinewood Studios with him.

302
00:12:57,766 --> 00:13:01,500
As we mastered the audio, 
it was a thrill watching him

303
00:13:01,500 --> 00:13:02,800
dig into his own

304
00:13:02,800 --> 00:13:05,633
arrangements and orchestrations 
and pull out tiny bits

305
00:13:05,633 --> 00:13:08,966
of different instrumentation 
was just incredible.

306
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♪ Use may be fatal ♪

307
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It is a real gift.

308
00:13:13,433 --> 00:13:14,933
When you get to work 
with authors

309
00:13:14,933 --> 00:13:18,900
who are excited 
to see how their story can be

310
00:13:19,133 --> 00:13:22,500
reinterpreted 15 years later 
in a new production,

311
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especially after

312
00:13:23,833 --> 00:13:26,533
the phenomenal success 
of the original production.

313
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I'm forever grateful

314
00:13:27,933 --> 00:13:31,733
for his and Brian's openness 
to letting me approach

315
00:13:31,733 --> 00:13:35,833
the material from my lens 
from my perspective in my time,

316
00:13:36,366 --> 00:13:37,733
from my country.

317
00:13:37,733 --> 00:13:42,500
And I hope the sort of thin 
we found the specificity of that

318
00:13:42,500 --> 00:13:45,066
its time in this place 
and will allow it to travel

319
00:13:45,066 --> 00:13:48,433
and see American 
audiences successfully. And

320
00:13:48,433 --> 00:13:51,100
♪ There will be light ♪

321
00:13:51,100 --> 00:13:52,400
I'm so excited that this

322
00:13:52,400 --> 00:13:55,866
production is included in PBS 
Great Performances

323
00:13:55,866 --> 00:13:56,300
Broadways Best

324
00:13:56,300 --> 00:13:57,866
initiative.

325
00:13:57,866 --> 00:14:00,866
I think the capturing of live

326
00:14:00,866 --> 00:14:04,533
work on screen is essential 
in terms

327
00:14:04,533 --> 00:14:08,000
of sharing it, giving access 
to wider audiences.

328
00:14:08,000 --> 00:14:09,866
You couldn' 
get to the original productions,

329
00:14:09,866 --> 00:14:11,933
whether that's becaus 
it was in a different country.

330
00:14:11,933 --> 00:14:13,300
But those access means

331
00:14:13,300 --> 00:14:15,700
those cost barriers 
that they had to bring.

332
00:14:15,700 --> 00:14:17,366
I think it is essential

333
00:14:17,366 --> 00:14:19,400
that we share this work 
as widely as possible,

334
00:14:19,400 --> 00:14:22,600
and I'm so grateful 
for PBS for doing that

335
00:14:22,600 --> 00:14:26,733
and for deeming us worthy to be 
part of this series of works.

336
00:14:27,233 --> 00:14:33,500
♪ Light ♪