Ripley, believe it or not, still rocks Normal
When I saw Next to Normal on Broadway, I was of two minds. For much of the first act, I glowered in my seat, overwhelmed by the Tom Kitt/Brian Yorkey score – too many lyrics, loud music of the pop-rock-showtune mega-mix variety and super-slick storytelling and direction by Michael Greif.
But somewhere in Act 2, I got completely caught up in the story of Diana, a bipolar woman whose illness has dominated and in some ways warped her husband, Dan, and their 16-year-old daughter, Natalie. From the song “Maybe (Next to Normal),” a duet for mother and daughter, to the end of the show, I was in tears.
It was the story more than the staging that got to me, and it wasn’t so much the music but the characters and the choices they make that was ultimately so moving.
So I left with the question: why does this show have to be a musical? The Pulitzer committee didn’t seem to mind when they handed out awards.
Chatting with Normal’s Superboy
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When people talk about the musical Next to Normal, it's inevitably about one of two things: how they related on a deep personal level to the story of a bi-polar mom and the affect her disorder has on her family or how astonished they were by Alice Ripley's lead performance as the struggling mom.
Ripley is extraordinary – this is the role that won her the Tony Award – and the show can be amazingly powerful, but there's more to this Pulitzer Prize-winning musical by Tom Kitt (music) and Brian Yorkey (book and lyrics). When Normal pulls into San Francisco's Curran Theatre as part of the SHN/Best of Broadway series, audiences will see there are other complicated, multi-layered characters surrounding Ripley's Diana. One of them is Gabe, her son.
On tour, this tricky role is played by Curt Hansen, who was part of the Broadway cast as the vacation swing. When he describes Gabe, he uses words like "average" and "all-American." But as the show's title suggests, nothing here is exactly normal.