Next to Normal

Brian Yorkey

51 pages 1-hour read

Brian Yorkey

Next to Normal

Fiction | Play | Adult | Published in 2008

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Act II, Pages 59-84Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of substance use, mental illness, emotional abuse, illness, and child death.

Act II, Pages 59-84 Summary

In one night, Natalie brings Henry to three different nightclubs, which concerns Henry. He suspects that Natalie is using drugs, which she admits to, listing Diana’s medication drugs. She also tries to justify that she is using them to relieve the stress of Diana undergoing electroconvulsive therapy. 


At the hospital, Doctor Madden initiates the procedure by sedating Diana with anesthesia. Diana has an out-of-body experience and watches herself undergo treatment, commenting that she doesn’t feel present in herself as she achieves mental clarity (“Wish I Were Here”). Parallel to Diana, Natalie comments that she is experiencing exuberance because of the drugs, but cannot feel any of it. They register each other in a liminal space outside of their respective bodies. Diana cautions her against using drugs; Natalie accuses her of being hypocritical. They reiterate their shared lack of feeling, as well as their desire to feel. Natalie collapses in the club and Henry comes to her rescue.


Dan picks Diana up after her treatment ends. Natalie and Henry make it back home before Natalie’s parents do, but she urges Henry to leave at once. She changes her clothes before her parents can see her. Diana registers Natalie’s presence, but cannot remember who she is. It occurs to Dan and Natalie that Diana has lost her memories of her family life, spanning the past 19 years. Dan tries to restore Diana’s memories by walking her through the house (“Song of Forgetting”). All these efforts fail. Natalie turns cynical, indicating that the treatment made Diana’s memories irretrievable. 


At school, Henry greets Natalie, whom he hasn’t seen in some time (“Hey #1”). Henry expresses concern over Natalie’s drug use, which Natalie criticizes as hypocritical. Henry remains committed to their relationship, but feels that the girl he fell in love with is repressed in Natalie. He invites her to go with him to the spring formal dance. Natalie declines, prompting Henry to chase after her.


At the clinic, Doctor Madden reminds Dan that Diana’s memory loss was always a possibility, just like the chances of those memories being recovered. Dan complains about living with Diana’s memory loss for two weeks already (“Seconds and Years”). Doctor Madden responds by getting Diana to express her feelings of clarity and lightness. He then advises Dan to look for keepsakes that can help to trigger Diana’s memory recovery, but cautions him to refrain from reminding her about Gabe for the time being (“Better Than Before”). 


Dan starts by showing Diana keepsakes from their wedding, though Natalie protests that Dan is misrepresenting their elopement as something idyllic. When Dan moves on to photos from their early family life, Diana fails to recognize Natalie once more, triggering Natalie’s frustration. Dan reassures her that things could go back to normal if they try their best to steer Diana’s memories of the past. 


Natalie shows Diana keepsakes of incidents that hint at bad memories, such as their house catching fire and Diana crashing the car while giving Natalie a parking lesson. To Natalie’s surprise, Diana recalls an incident where she had missed Natalie’s recital because her excessive lithium medication caused her to hide in the car. Diana acknowledges that Natalie has lived through a hard childhood, which causes Natalie and Dan to react with joy and the optimism that things will improve. However, Diana stumbles upon the music box, which sparks a brief recollection of Gabe.


The vision of Gabe comments that while Diana has cleared away the memories that affect her, she will continue to feel the grief of losing him (“Aftershocks”). Diana begins rifling through her belongings to look for the thing she feels is missing in her life. Dan reassures her that whatever she is trying to remember will come back to her eventually. 


One day, Diana answers the door when Henry comes looking for Natalie. Diana asks how old Henry is, remembering someone around his age. Henry reminds Natalie that the spring formal is taking place the following day (“Hey #2”). Despite Henry’s insistence on resuming their relationship, Natalie stresses that their relationship triggers her worst instincts. Henry makes a final appeal to restart their relationship on a clean slate. He promises to pass by to pick her up for the dance, but if she doesn’t come, he will accept her decision.


On the fourth week after her electroconvulsive therapy treatment, Diana continues to wonder what she is trying to recover from her lost memories (“You Don’t Know (Reprise)”). She shares this anxiety with Doctor Madden, and acknowledges that most of the memories she has recovered have been mediated by Dan. When Doctor Madden mentions Diana’s son, Diana responds with shock, prompting Madden to realize his error. He advises Diana to talk to Dan and abruptly ends their session.


A vision of Gabe hands the music box back to Diana. Dan sees Diana holding the music box and asks her where she got it. Diana begins to remember they used to play it for their son to put him to sleep. Soon, Diana remembers the day Gabe died (“How Could I Ever Forget?”). Dan discourages her from remembering everything about that day, telling her it won’t help her mental health. Eventually, he starts recalling that day as well, remembering it as the day he lost the Diana he knew. Diana asks Dan to explain what happened because she wants to remember everything, including the things that hurt her: The baby was experiencing a slew of symptoms that the doctors misinterpreted as common infancy issues. These symptoms pointed to an underlying illness that caused the baby’s sudden death. 


Diana struggles to remember the baby’s name. Dan tries to placate her with promises to return to Doctor Madden (“It’s Gonna Be Good (Reprise)”). Diana insists on recalling her son’s name while Henry arrives to pick up Natalie. Natalie comes downstairs, fully dressed for the formal. She sees Dan take the music box and smash it to the ground. This causes Natalie to retreat back to her room. Henry follows her upstairs. Diana asks why Dan chooses to stay with her when their relationship negatively affects his life (“Why Stay?”). Upstairs, Natalie asks Henry a similar question, suggesting that he shouldn’t have to endure her problems.

Act II, Pages 59-84 Analysis

Act II begins with the repercussions of Dan and Diana’s decision to begin electroconvulsive therapy as the family continues to grapple with The Illusion of Family Normalcy. While the biggest consequence of the treatment is Diana’s loss of memory, the first scene of the Act shows Natalie acting out against her parents, using Diana’s medication to numb herself from the physical and emotional strain of the self-destructive activities she is engaging in. Yorkey draws a parallel between Diana and Natalie in this opening. Both express a numbness in place of feeling, hinting at a similarity between Natalie’s self-destructive behavior and Diana’s experience of her treatment. While this emotional dislocation foreshadows the negative impact of the treatment, the early parts of the Act frame Diana’s memory loss as an opportunity for growth and the reinforcement of the family bonds.


Yorkey repurposes the ideas from Act I’s “It’s Gonna Be Good” to drive the optimism behind Diana’s wiped memory. In “Better Than Before,” Dan reassures Natalie that their efforts to mediate Diana’s memories are “Gonna get us back to normal / Gonna get us back to good . . . / Gonna get back what we had and maybe more” (72, emphasis added), echoing the optimism that followed Diana’s disposal of her medication. A more direct recurrence of “It’s Gonna Be Good” comes later on in the song’s reprise, where Dan tries to assure Diana that she doesn’t have to keep living with the memory of Gabe as they can return to electroconvulsive therapy. Yorkey uses the recurrence of optimism across these scenes to suggest that the family is striving for a sense of “normalcy” that is devoid of distress and trouble.


Dan’s quick insistence on returning to treatment implies how much comfort he finds in the erasure of Diana’s memory. He mediates her recollection, offering idealized glimpses of the past to convince Diana that their life has been happy thus far. However, Diana’s gradual recollection of Gabe suggests that there is a part of her memory too deep for therapy to erase. The vision of Gabe compares the pain of Diana’s grief to an “aftershock,” indicating that the echoes of her original traumatic experience will continue to affect her even if she loses sight of it. In these ways, the family’s interactions imply that their desire to achieve “normalcy” at any cost is compromising the authenticity and honesty their relationships really need. 


Moreover, Dan’s exposition of the circumstances that led to Gabe’s death reveal that the trauma still exists in him as well, speaking to The Limits of Emotional Repression. Although Dan has learned to repress his feelings to try to support Diana, this scene reveals that he, too, has been hurting. Dan values a life where Diana can function apart from her grief, whereas Diana needs to acknowledge her grief in order to function, which she finds difficult to do given the traumatic nature of Gabe’s death. Yorkey signals this dichotomy by having Diana repeatedly ask Dan to recall their son’s name. Up until this point, Gabe’s name has not been spoken in the play, underscoring Dan’s tendency to repress the emotional reality of his grief. By urging Dan to say Gabe’s name, Diana is challenging him to become vulnerable for once. When Dan destroys the music box, he fails that challenge, prompting Diana to ask him why he persists in supporting her when he cannot make himself emotionally available to her. 


Once again, Yorkey draws a comparison between Diana and Natalie’s characters by letting Natalie face a parallel conversation with Henry. Henry, in his insistence on supporting Natalie, mirrors Dan in his support for Diana. What sets Henry and Dan apart, however, is that Henry is more willing to open himself up to moments of vulnerability. He shows this in his multiple attempts to seek Natalie out, asking her to be his date to the spring formal dance. Each attempt sees Henry risking emotional rejection, but he persists anyway out of the previously established commitment to be a perfect partner for her. Dan maintains similar motivations but cannot bring himself to commit to the vulnerability that will make him a perfect partner for Diana. This sets the stage for the resolution of Dan’s personal arc within the final pages of the Act.

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