In our ongoing Edinburgh Fringe 2026 interview series, we are speaking to artists and creatives who are bringing their shows to the Scottish capital this summer.
In this interview, we speak with director Dominic Whitefield-Holbrook, and performers Brikaih Flore (playing Diana Goodman) and Greg McCafferty-Thomson (playing Dan Goodman) to learn more about their production of Next to Normal.
What can you tell me about your show and your role?
Dominic: Next to Normal is a Pulitzer Prize and Tony Award-winning rock musical about a family trying to hold themselves together while dealing with mental illness, grief, memory, and the pressure to appear “normal”. It is an incredibly powerful piece because it treats those themes with honesty, but also with humour, love, and real humanity.
Dominic: Next to Normal is a Pulitzer Prize and Tony Award-winning rock musical about a family trying to hold themselves together while dealing with mental illness, grief, memory, and the pressure to appear “normal”. It is an incredibly powerful piece because it treats those themes with honesty, but also with humour, love, and real humanity.
For this production, I’m the director, so my role is to shape the overall storytelling, support the cast in finding truthful performances, and make sure the production handles the subject matter responsibly. Because the show deals with mental health and trauma, a big part of my job has also been creating a rehearsal room that feels safe, clear, and supportive while still pushing for strong, emotionally honest work.
I’m also involved as part of Bare Productions, so beyond the creative side I’ve been supporting the wider producing work too, including partnerships, accessibility, fundraising, marketing, and making sure the show connects with audiences beyond just the performance itself. For us, this production is not just about putting on a brilliant musical. It is about opening up conversation, reducing stigma, and showing how theatre can make difficult subjects feel more human.
Next to Normal is an incredibly intimate, emotionally raw piece. How are you approaching the staging in a Fringe venue like Paradise in Augustine’s to maintain that intensity while working within the constraints of a festival slot?
Dominic: We’re leaning into the intimacy rather than fighting the constraints.
Dominic: We’re leaning into the intimacy rather than fighting the constraints.
In a Fringe venue, you don’t have the luxury of huge set changes or long transitions, so the focus has to be on the people. Our staging is stripped back, fluid and emotionally precise. The space is designed to feel like a family home that is never quite stable, with pieces shifting and re-forming around the characters rather than creating lots of literal locations.
That actually suits Next to Normal really well. The show lives in memory, fracture and emotional pressure, so a more minimal, flexible staging helps keep the audience close to the family’s experience. We’re using the limitations of the slot to sharpen the storytelling: fast transitions, clear visual language, and performances that can hold the room without needing excess around them.
The priority is intensity, not spectacle. We want the audience to feel like they’re inside this family’s world, close enough that they can’t look away.
What is your directorial philosophy for pushing local talent to meet the immense vocal and emotional demands of this particular rock musical?
Dominic: My philosophy is clarity before intensity.
Dominic: My philosophy is clarity before intensity.
Next to Normal asks a huge amount from performers, vocally and emotionally, so I don’t think you get the best work by simply telling people to “feel more” or “go bigger”. You get there by building the foundations properly: understanding the text, the relationships, the rhythm of the score, and exactly what each character is fighting for in each moment.
Vocally, we’re treating it like an athletic piece. The cast need stamina, accuracy and confidence, so there’s a strong focus on preparation, independent practice and working carefully with our musical director to make sure the sound is powerful but sustainable.
Emotionally, the work has to be truthful without becoming unsafe or indulgent. I’m very clear that actors do not need to mine personal trauma to deliver a good performance. We work from intention, circumstance and connection. That allows the cast to reach the emotional weight of the piece while still feeling held and in control.
For me, pushing local talent means taking them seriously. The expectation is high, but so is the support. Community theatre can produce work of real professional quality when people are trusted, challenged and given the right structure around them.
In 2026, conversations surrounding mental health, medicalization, and family trauma have evolved significantly since the show premiered. Are you bringing any contemporary perspectives or specific regional nuances to this Edinburgh production?
Dominic: Yes, absolutely. We’re not trying to “modernise” the show in a gimmicky way, but we are approaching it through the lens of where we are now.
Dominic: Yes, absolutely. We’re not trying to “modernise” the show in a gimmicky way, but we are approaching it through the lens of where we are now.
When Next to Normal first premiered, simply putting bipolar disorder, medication and family trauma at the centre of a musical felt radical. In 2026, the conversation has moved on. People are more aware of mental health language, but they are also more aware of how complex, messy and imperfect recovery can be. So we’re interested in avoiding easy answers. The show is not “medication bad” or “love fixes everything”. It sits in a much more difficult space, which feels very contemporary.
For this Edinburgh production, we’re also thinking about community, access and stigma in a Scottish context. We’re working with organisations including Bipolar Scotland and Held in Our Hearts, which helps ground the production in real conversations happening here, not just in an abstract version of mental health.
The regional nuance is less about changing the text and more about changing the frame around it. We want audiences to leave feeling that these issues are close to home, not distant or theatrical. The family in the show may be American, but the pressures around grief, diagnosis, care, silence and survival are absolutely recognisable here.
Diana Goodman is widely considered one of the most complex, demanding, and coveted roles in contemporary musical theatre. What was your initial reaction when you landed the part, and how have you been preparing yourself for the emotional marathon she undergoes every night?
Brikaih: I think my initial reaction to getting the part of Diana was pure shock and delight, and then it became the deep understanding of just all of the responsibilities that the role has. I really try to support her emotional track and very physical journey by making sure that my own physical body is in good condition. I’m a big believer of mind/ body connection, so I prioritize working out, going on runs. ensuring that I’m training to be able to handle the little traumas my body has to help me get through in an actor sense, to portray the very large traumas that Diana goes through in a character sense.
Brikaih: I think my initial reaction to getting the part of Diana was pure shock and delight, and then it became the deep understanding of just all of the responsibilities that the role has. I really try to support her emotional track and very physical journey by making sure that my own physical body is in good condition. I’m a big believer of mind/ body connection, so I prioritize working out, going on runs. ensuring that I’m training to be able to handle the little traumas my body has to help me get through in an actor sense, to portray the very large traumas that Diana goes through in a character sense.
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| Photo by @andrewperryUK |
The musical handles bipolar disorder and trauma with a lot of nuance, showing both the highs and lows of medication and therapy. How do you approach playing Diana with empathy and realism, avoiding stereotypes while honouring the lived experiences of people with similar conditions?
Brikaih: What a fabulous question! From the get-go, it has been very important for me to try and gain as much understanding and knowledge as I can, so I can (to the best of my ability) be really honest with my portrayal of this woman with bipolar disorder. From working with our charity partner, bipolar Scotland I learned invaluable information that has helped me feel much more at peace with some of the decisions I’m making as an actor. I also am quite lucky because there are several very close people to me in life that are women with bipolar, and they have been so giving and wonderful with conversations and understanding the condition on a more personal level. It’s extremely important to me that I make Diana a real person and not a caricature of one, I feel like I’ve seen in other media the idea of mania being this crazed thing Versus the reality of it, which is: there is such a spectrum of how bipolar affects each person. It’s a very personal and individual experience because no two cases are identical. So really my challenge has been building what her bipolar is -in a sense-and understanding her high highs and low lows and everything in between so I can flush out all my understanding of her condition. And ultimately what I’m left with is (I hope) very genuine. But I think the very first step in any of that is just humanizing the character I’m playing.
Brikaih: What a fabulous question! From the get-go, it has been very important for me to try and gain as much understanding and knowledge as I can, so I can (to the best of my ability) be really honest with my portrayal of this woman with bipolar disorder. From working with our charity partner, bipolar Scotland I learned invaluable information that has helped me feel much more at peace with some of the decisions I’m making as an actor. I also am quite lucky because there are several very close people to me in life that are women with bipolar, and they have been so giving and wonderful with conversations and understanding the condition on a more personal level. It’s extremely important to me that I make Diana a real person and not a caricature of one, I feel like I’ve seen in other media the idea of mania being this crazed thing Versus the reality of it, which is: there is such a spectrum of how bipolar affects each person. It’s a very personal and individual experience because no two cases are identical. So really my challenge has been building what her bipolar is -in a sense-and understanding her high highs and low lows and everything in between so I can flush out all my understanding of her condition. And ultimately what I’m left with is (I hope) very genuine. But I think the very first step in any of that is just humanizing the character I’m playing.
Dan is often viewed as the rock of the family, but underneath his "everything is fine" exterior lies an incredible amount of suppressed grief and exhaustion. How do you tap into that quiet, simmering pain without letting him just become a passive character?
Greg: I think most of Dan’s emotional life exists underneath the facade of what he allows people to see. For me, the key to playing him is acting through the eyes. Outwardly, he’s determined to stay calm, grounded and practical. He’s constantly trying to convince himself, and everyone else, that things are OK. But underneath that, there’s his own grief, fear and exhaustion simmering away. What I find most interesting is the contrast between what his body is doing and what his eyes are revealing. That’s what stops him from feeling passive to me and makes him such a compelling and relatable character to play. Internally, he’s constantly active. I hope that even in moments of silence or stillness, the audience can see just how much is going on beneath the surface.
Songs like "He's Not Here" and "A Light in the Dark" reveal how desperate Dan is to fix things. How do you view Dan’s choices? Do you see him as a saviour trying to keep his family afloat, or is his denial part of the problem?
Greg: For me, he’s both. Dan genuinely loves his family, and there’s something so admirable about how hard he fights for them. At the same time, his need to 'fix' everything stops him from properly confronting his own grief, so his denial absolutely contributes to the situation. That’s what makes him feel so human to me. He’s doing what he truly believes is best (as so many of us do) but good intentions don’t always lead to healthy choices. His flaws come from love and from desperately wanting to protect the people around him. However, in trying so hard to hold everything together, he prevents both himself and his family from fully healing.
Greg: For me, he’s both. Dan genuinely loves his family, and there’s something so admirable about how hard he fights for them. At the same time, his need to 'fix' everything stops him from properly confronting his own grief, so his denial absolutely contributes to the situation. That’s what makes him feel so human to me. He’s doing what he truly believes is best (as so many of us do) but good intentions don’t always lead to healthy choices. His flaws come from love and from desperately wanting to protect the people around him. However, in trying so hard to hold everything together, he prevents both himself and his family from fully healing.
Performing a show this emotionally draining at 18:40 every night during the chaotic energy of the Edinburgh Fringe is a unique challenge. How do you plan to decompress and take care of your own mental well-being throughout the run?
Greg: For me, decompressing is all about those small routines that help ground me again, whether that’s some comfort movies or TV, listening to music or just taking some quiet time. With the demands of this show, making space to reset mentally, physically and vocally is really important. Being part of such a supportive company helps massively too. Everyone at Bare Productions looks out for each other, checks in, and finds the lighter moments in this process that make the emotional weight of the show much easier to manage.
Greg: For me, decompressing is all about those small routines that help ground me again, whether that’s some comfort movies or TV, listening to music or just taking some quiet time. With the demands of this show, making space to reset mentally, physically and vocally is really important. Being part of such a supportive company helps massively too. Everyone at Bare Productions looks out for each other, checks in, and finds the lighter moments in this process that make the emotional weight of the show much easier to manage.
Brikaih: I am a big believer in taking care of your mental health. So for me coming down from such an emotional and intense performance starts with hugs from the cast to let the body know it’s safe, eating sugar, which is something an old PTSD therapist turned me onto, and I’ve used ever since, Nervous system Reset I think is crucial and making sure I take the time to realign my breathing and vagus nerve. I think it’s also going to be a case by case basis of what my body/mind needs after a show. Vocally I’m currently building a cool down plan for after performances so I can ensure that my vocals go to bed in a healthy place. Did I mention hugs? Because so many hugs!
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| Photo by @andrewperryUK |
If you couldn’t use a flyer to attract audiences, what ridiculous object would you hand out to people to get them into your show?
Greg: I think a single puzzle piece with no explanation, (just the dates, time and venue) would be really intriguing. People are naturally curious, and I like the idea of inviting the audience to come and discover the full picture for themselves. The puzzle piece feels like a really fitting symbol for the show because so much of Next to Normal involves people trying to make sense of fragmented memories, emotions and relationships. Also, at the Fringe, if someone handed you a random puzzle piece in the street, you’d probably remember it more than another flyer!
Brikaih: I think I would hand out wee pieces of purple cake. It’s a small yet significant clue but also, who doesn’t love cake?
Greg: I think a single puzzle piece with no explanation, (just the dates, time and venue) would be really intriguing. People are naturally curious, and I like the idea of inviting the audience to come and discover the full picture for themselves. The puzzle piece feels like a really fitting symbol for the show because so much of Next to Normal involves people trying to make sense of fragmented memories, emotions and relationships. Also, at the Fringe, if someone handed you a random puzzle piece in the street, you’d probably remember it more than another flyer!
Brikaih: I think I would hand out wee pieces of purple cake. It’s a small yet significant clue but also, who doesn’t love cake?
What is the one item in your Fringe Survival Kit that you can’t live without at the Fringe?
Greg: A water bottle, throat lozenges and a vocal steamer, without question. OK, so they’re not the most glamorous Fringe essentials, but with a show as emotionally and vocally demanding as Next to Normal taking care of our voices and staying hydrated helps ensure we’re able to tell this incredible story the way it deserves to be told.
Brikaih: My fringe survival kit must is my water bottle. Listen, I love this water bottle- it’s big and it has a straw and stickers on it; she’s a girls best friend for sure!
What would you deem as success at the end of the Fringe?
Dominic: For me, success at the end of the Fringe is not just about ticket sales, although of course we want the room full and we want the show to reach as many people as possible.
The real success would be that audiences leave feeling moved, challenged, and less alone. Next to Normal deals with grief, mental health, family pressure and survival, and if even a handful of people come away feeling seen, or start a conversation they might not otherwise have had, then that matters.
Success also means knowing we’ve done justice to the piece artistically. It’s a demanding show, vocally and emotionally, so I want the company to feel proud that we met it with honesty, care and ambition.
Success also means knowing we’ve done justice to the piece artistically. It’s a demanding show, vocally and emotionally, so I want the company to feel proud that we met it with honesty, care and ambition.
And finally, because Bare Productions is built around community, success would be that everyone involved feels they were part of something meaningful: a supportive, professional-feeling process that showed what local Scottish talent can do on a Fringe stage. If we can combine strong audiences, strong performances and genuine impact, that’s a successful Fringe for me.
Other than your own show, are there any other shows you would recommend at the Fringe this year?
Dominic: I’m always slightly cautious about recommending too confidently before I’ve actually seen things, because part of the joy of the Fringe is discovering work in the moment. But I’m really excited by the range of musical theatre on offer this year. I’d definitely point people towards shows like Showstopper! The Improvised Musical, because it captures that brilliant live, unpredictable Fringe energy, and Sunshine on Leith, which is such a loved Scottish story with real heart.
Dominic: I’m always slightly cautious about recommending too confidently before I’ve actually seen things, because part of the joy of the Fringe is discovering work in the moment. But I’m really excited by the range of musical theatre on offer this year. I’d definitely point people towards shows like Showstopper! The Improvised Musical, because it captures that brilliant live, unpredictable Fringe energy, and Sunshine on Leith, which is such a loved Scottish story with real heart.
There are also big emotional musicals on the programme like Come From Away and Dear Evan Hansen, which feel like natural recommendations for audiences who are drawn to work with strong storytelling, big feeling and human connection.
What is one Edinburgh spot that you would recommend people to visit when they're not watching performances?
Dominic: One Edinburgh spot I’d recommend is Calton Hill. It’s close enough to the city centre that you can fit it between shows, but it gives you this amazing panoramic view of Edinburgh, from the Old Town to Arthur’s Seat and out towards the sea. The Fringe can be intense, busy and brilliant, so I think it’s nice to have somewhere you can step back, take a breath, and remember what a beautiful city you’re in
Dominic: One Edinburgh spot I’d recommend is Calton Hill. It’s close enough to the city centre that you can fit it between shows, but it gives you this amazing panoramic view of Edinburgh, from the Old Town to Arthur’s Seat and out towards the sea. The Fringe can be intense, busy and brilliant, so I think it’s nice to have somewhere you can step back, take a breath, and remember what a beautiful city you’re in
What would you hope someone takes away from seeing the show?
Dominic: I hope people take away a sense of empathy and recognition. Next to Normal doesn’t give easy answers, but it does show that people can be struggling, loving, grieving and surviving all at once. I hope audiences leave feeling moved, less alone, and maybe more able to talk honestly about mental health and the pressures families carry behind closed doors.
When and where can people see the show?
Dominic: People can see Next to Normal at the Edinburgh Festival Fringe 2026, running from 7th to 15th August at Paradise Green, George IV Bridge.
We’re performing nightly at 6.40pm, so it’s a perfect early evening Fringe slot before people head into the rest of their night.
Tickets for Next To Normal are available from https://www.edfringe.com/tickets/whats-on/next-to-normal
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| Photo by @andrewperryUK |
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