Next To Normal 4/2

I just reread my review of the off-Broadway production from last year at Second Stage. I can happily report that some of the problems I witnessed then have been fixed - notably the weird “rock concert” that ended act one (“Feeling Electric” has been completely excised from this version). But alas, the show remains a valiant, but flawed attempt. And though the show is often quite moving, at times the pace seem a bit ponderous. The first act starts off promisingly enough, but the last half hour of the act could easily be cut by 15-20 minutes. Granted, you’d lose some interesting musical material, but not much happens. She’s crazy, we get it, move on.

Likewise, everything that happens in the second act could easily be condensed into a tight 45 minutes without losing its emotional impact. There are a string of consecutively played, emotionally charged scenes. The audience literally sniffles and cries through the act. I think “intense” might even be an understatement. Sure, there’s some great writing here, but every scene seems just a verse too long. It’s not that I have a short attention span (I never got bored through three hours of August: Osage County and I can sit through hours of opera) but I don’t think the material, as written, is strong enough to sustain the drama. The score is harmonically, rhythmically and lyrically interesting, but missing soaring, heart-breaking melodies (which is not the same as high and loud, which this score has plenty of) that keep you invested after you’ve grown immune to the indie rock rhythms. There are no doubt catchy tunes and some interesting pop hooks, but the score lacks a true melodic touchdown - there’s no “Not A Day Goes By” or “If I Loved You” or even, I can’t believe I’m writing this, a “Memory.” Sure, “I Miss the Mountains” is an incredible musical monologue, but it’s strength is in it’s lyric more than in it’s melodic interest.

Perhaps the physical design may be to blame for many of the productions shortcomings. The direction is fluid and interesting, but the set design, which granted is quite striking, forces everything to happen in a four foot strip at the front of the stage. Even the many levels can’t make up for the “flatness” of the playing space. It’s used well, but soon all the staging becomes monotonous due to the stage constraints coupled with the “sameness” of the score.

Performances across the board were exceptional, great nuanced acting coupled with strong voices. J. Robert Spencer does an admirable job as the father, but I miss Brian D’Arcy James’ singing voice. Spencer’s is beautiful, but musical theatre generic. Alice Ripley plays crazy extremely well, but I still hear some definite vocal issues that were more evident off-Broadway. When she’s on, she’s on, and her power belt is thrilling. But she often sings flat. It wasn’t too bothersome, but mark my words, in five or ten years if she doesn’t pay attention to it now, she’s gonna’ have a chronic flat belt. Maybe she couldn’t hear the band? Before you all go ballistic and say everyone sings flat occasionally, similar belters - Julia Murney, Bernadette Peters, Audra MacDonald, Marin Mazzie, Emily Skinner - do not have this problem. Sure, everyone has a clunker here and there, but Ripley’s happens at the same spots - ends of phrases and on the peak of musically arched phrases - that’s a technique issue and not just coincidence. But enough of the vocal pedagogy class. Overall, I think this is a solid, though not entirely successful attempt from a promising writing team.