My Most Memorable Theatre Experiences: #6 Next to Normal

I apologize for neglecting this blog series over the past few weeks. I've been trying to cover the start of the figure skating season but now that that is underway, I'm back to theatre! I lived in Manhattan in the summer of 2009 and made it my personal goal to see every musical on Broadway. After the TONY awards, I became interested in Next to Normal and decided to wait in line for rush tickets. I thought I'd be fine arriving at 9am for a 10am box office opening, but little did I know, that was much too late. I didn't get tickets and saw Rock of Ages that night instead. On the way home from that show, I passed the Booth Theatre and happened to bump into Alice Ripley. She asked if I'd seen the show that night and I was so starstruck I could barely speak, but eventually found the words to tell her I'd waited in line but didn't get tickets. I proudly announced that I planned to get in line at 5am the next week to ensure that I'd get tickets. Then, to my surprise, Alice hugged me and told me how much she loves her fans and that she is so proud to be in a show that people love enough to wait in line for hours for rush tickets. She even told me to friend her on facebook and tell her when I was coming to the show, which I may or may not have done.

The next Friday, I arrived at the Booth Theatre at 5am and was first in line. When the box office opened at 10am I was able to purchase front row orchestra seats for $20 and could not believe my luck. I treated myself to the full theatre experience that night including a nice dinner before curtain. I hadn't listened to the music prior to seeing the show as I wanted to experience it all that night and from the beginning notes of the prelude, I was completely enraptured. I normally fall in love with shows because the music speaks to my soul, and this show was a perfect example of that. I found the blend of soft, traditional musical theatre, with rock and folk music to be genius in getting to the essence of the Goodman family. In some productions, good music can mask a weak story or poorly written book, but this show was one of those rare occasions where all elements worked perfectly in harmony. I use this phrase often, but this show is truly a play with music, because even if the score were taken away, the characters are developed enough to tell a complete story. How this show lost the TONY for Best Musical to Billy Elliott still astounds and infuriates me. Alice Ripley, who did win a TONY for Best Actress in a Musical for her portrayal of Diana Goodman, a wife and mother suffering from bipolar disorder and depression was a complete tour de force. Patti LuPone once said that the most exciting performers to watch are those that are on the verge of spinning out of control. This describes Alice's performance perfectly. One minute she was in control of her voice and body and the next moment she wasn't and not only did that make her performance exciting, it made her portrayal of a mentally ill woman believable. While the other performers, J Robert Spencer as Dan, Kyle Dean Massey as Gabe, Jennifer Damiano as Natalie, Louis Hobson as the Doctors, and Adam Chanler-Berat as Henry were all fantastic, in my opinion they only served to support the character of Diana. While I think this show is stellar regardless of the casting, I think that Alice Ripley has become so iconic in this role that without her, it may not have much staying power on Broadway. In fact, now that Marin Mazzie has taken over the role, the show has all but posted its closing notice. But regardless of how much longer it lasts on Broadway, this show shed light on a topic previously untouched by musical theatre, developed a cult following, and truly touched a new generation of theatre-goers. And did I mention that it won the 2010 Pulitzer Prize for drama?

When Those Neon Lights Go Dark On Broadway

I've been thinking a lot about Broadway closings recently, especially because of the nature of last week's poll. And then, to my surprise, four big Broadway musicals have announced their closing dates, or at least announcements are expected to come shortly. It was announced several weeks ago that Fela! will shutter on January 2, 2011 and although it is yet to be confirmed, many speculate that Promises, Promises and Next to Normal will also close on that same date. Then yesterday, the producers of West Side Story announced that they too will close on  January 2nd. With new shows anxiously awaiting these open theatres, one always has to wonder if there isn't some persuasion, on the part of producers of upcoming musicals, for struggling shows to cut their losses and close. I guess nobody every really knows what exactly causes a show to close its doors and each of these shows has enjoyed an arguably strong run on the Great White Way.

Fela! and Promises, Promises are some of the first to close of the 2009-2010 TONY season, but one might argue that Fela! never truly found its audience and Promises, Promises would not be able to stay afloat once the contracts of its big stars, Kristin Chenoweth and Sean Hayes, expire. Next to Normal was the 2008-2009 season's little show that could. Many never expected it to make it further that Second Stage where it ran off-Broadway, but it defied the naysayers, winning several TONY awards, garnering a cult following, and running for close to two years. West Side Story....well that is another story. I'm sure that Arthur Laurents expected his baby to win the Best Revival of a Musical TONY in 2009, but it lost to Hair (which closed about 3 months ago) and didn't receive the buzz that was anticipated. Perhaps it was the addition of Spanish lyrics, or the the fact that the creative team chose not to use Jerome Robbins' iconic choreography, but either way, the production lacked sparkle. Now a run of a year and a half is certainly nothing to scoff at, but this West Side Story revival was never the critical darling it was expected to be.

Of course we are sad to see these wonderful shows close, but such is the life cycle of the business of show. To quote the great Stephen Sondheim, "everyday a little death," but then again, "everything's coming up roses." When one show closes, that means a new show can open, and the 2010-2011 Broadway season is highly anticipated. It was publicly announced yesterday that one of the season's big budget musicals, Priscilla Queen of the Dessert, will take the Palace Theatre, currently inhabited by West Side Story. Many anticipate that the British transfer Sister Act will move into the Broadway Theatre once Promises, Promises closes and others speculate that the new musical Catch Me If You Can will take the Eugene O'Neill from Fela! And as for the Booth, one of Broadway's smallest houses, we can only hope that its next resident touches the Broadway community as deeply as Next to Normal did.

Next to Normal to Close?

There has been no official announcement from the producers so I will wait until then to really get upset, but rumors are flying that Next to Normal will shutter at the Booth theatre on January 2nd of 2011. This happens to be the closing date of FELA! as well as 5 other shows. Unfortunately the winter season after the holidays can be perilous for many Broadway shows. This wonderful production, winner of 2009 TONY awards for best score and best actress in a musical will surely be missed and its absence will leave a gaping hole on West 45th street.

Fun Fact of the Day: Shortcuts Through the Theatre District

Have you ever tried to walk through Times Square on your way to a Broadway show, but hoards of people between Broadway and Eighth Avenue got in you way? Well, here is the path that the actors take to get to their theatres by half-hour call and avoid the crowds. Locals and theatrefolk know this as the "Broadway Shuffle".

41st-42nd Streets: Cut through the lobby of the Times Square Hilton on the McDonalds
44th-45th Streets: The famous Shubert Alley behind the Shubert and Booth theatres serves as the shortcut between these two streets, which also happen to contain the greatest concentration of Broadway theatres
45th-46th Streets: Walk beneath the Marriot Marquis' underpass where you will not only find an entrance to the hotel, but also a Starbucks and various theatrical gift shops
46th-47th Streets: Continue on to 47th street via the Edison Hotel lobby
48th-49th Streets: The Holiday Inn Crowne Plaza provides yet another walkway to cut through the block and avoid Broadway and Eighth
53rd-54th: If you are seeing shows at the theatres furthest uptown, the Broadway Theatre or Studio 54, you can cut through the parking garage next to the Studio 54 stage door

And that, theatre fans, is how the Broadway stars get to work unnoticed!