The Gallery Players’ production of “Next To Normal,” a contemporary rock opera which debuted Off-Broadway in 2008, is packed with psychological potency. Though the Brooklyn theater group performed in a humble Park Slope venue, as opposed to the musical’s 2009 Broadway run at the Booth Theatre, this production has the same impact of the original production.

“Next to Normal” follows the Goodmans, a family torn apart by the bipolar disorder that inhibits the mother, Diana (Carman Napier).  She is also afflicted with a mind-spinning revelation that is unveiled at the beginning of the first act, that sets the musical into motion.

Drawing inspiration from the Broadway production, the set consists of multiple levels that create an illusion of separate rooms. For such a modest set, the staging is very well orchestrated. Multiple scenes independent of each other take place at the same time without confusing the audience. The relationship between Diana and her husband Dan (Benjamin Sheff) is paralleled by their daughter Natalie (Lindsay Bayer) and her boyfriend Henry (John Wascavage), which is emphasized through simultaneous scenes held at different levels on set. The stripped-down stage allows itself to become occupied with the Goodmans’ crippling problems.

A small orchestra on the second level of the stage adds an element of exposure and rawness to the production, pulsating an artful contrast of volatile rock music, dainty piano staccato and the plucking of strings. The multifaceted score and lighting effects reflect the unhinged nature of Diana’s condition, and the recurring melodies imitate the overwhelming feelings associated with a manic disorder. 

Despite the emotive score, musical moments that should have been infused with power and raw emotion lack conviction, most notably “I’ve Been,” “Light in the Dark” and “Superboy and the Invisible Girl.” The vocals, though not mind-blowing, are impressive.

Luke Hoback, who plays Diana’s son Gabe, gives a particularly compelling performance. Hoback’s Gabe has a skulking and coquettish disposition — he is a character that the audience does not know if it should love or hate. Hoback slinks around the stage with assertiveness and allure, making for a haunting and stirring presence. Napier as Diana proves successful in portraying a frantic, confused woman who is grappling with the contrast between reality and the distortion induced by her disorder.

Although there is little chemistry between Natalie and Henry, Wascavage’s Henry is adorably dorky and innocently enamored with Natalie, a mediocre Bayer who was a bit excessive in angst. Wearing Converse and flannel, Henry clutches the straps of his canvas backpack as he struggles to find his words and offers beautiful vocals as he does so. 

Although one cannot help longing for the voice of Jennifer Damiano, the actress who played Natalie on Broadway, it is necessary to step back and realize that this is Off-Off Broadway, not the glitzy Booth Theatre. The Gallery Players’ performance made it clear, however, that this musical has the innate power to transcend the superficiality of a Broadway label and to get the audience invested in this family’s struggles. “Next to Normal” has a unique ability to move any audience, even one that may feel detached from the idea of mental disorder, and, though lacking a punch in certain respects, this Off-Off Broadway incarnation didn’t lose any of the musical’s effect. 

“Next to Normal” will run through Oct. 5 at 199 14th St. in Brooklyn.

A version of this article appeared in the Thursday, Oct. 2 print edition. Email Caroline Cunfer at [email protected].