Why are so many people I know so resistant to the ongoing reinvention of the Broadway musical? Why should love of the great classics of the form — South Pacific, Oklahoma!, Gypsy, Guys and Dolls — blind us to the creative explosions that have been erupting on Broadway in the past several years? I have never seen a musical that plumbed the sorrowful complexities of love as deeply as Adam Guettel's The Light in the Piazza. And Grey Gardens was the richest, saddest, most hilarious examination of an incredibly difficult subject that I could possibly imagine. (My best friend and I had one of our rare disagreements when he told me that he thought Scott Frankel's music sounded as if it was written by a high-school student; I found it an uncannily perfect fit for Michael Korie's lyrics — the best lyrics, incidentally, I've heard in years.) Both The Light in the Piazza and Grey Gardens had difficulty finding their audience, and Grey Gardens never really succeeded in doing so. But despite the fact that they both took place in the American past, these shows crackled with a modern sensibility — and not enough people cared.
Recently, I urged friends to catch Next to Normal, which now stars husband-and-wife artists Marin Mazzie and Jason Danieley as a couple whose lives are blighted by the wife's ongoing mental illness. The score, by Tom Kitt and Brian Yorkey, is an amazingly demanding one, and it's unthinkable that the stars could get through it without exercising everything they know about technical command, about holding back vocally and not getting so lost in the emotionalism of the music and words that they do themselves permanent vocal damage. Yet I've seldom seen two performances in the musical theater that I thought showed less artifice, less obvious "control." One of Mazzie's strong suits is her astonishing ability to generate heat onstage. Anyone who witnessed her brilliant turn as Lily Garland in the Actors' Fund of America concert version of the Cy Coleman–Betty Comden–Adolph Green On the Twentieth Century, back in 2005, will know what I mean. In Next to Normal, her tormented Diana seems utterly skinless: there is no barrier between her and the audience; she submerges herself so deeply in the role that you wonder if she will ever be able to come back for the curtain call. As her husband, desperately trying to see his wife through an illness for which the "remedies" are notoriously short-term and not even understood fully by the doctors who administer them, Danieley gives a moving, beautifully judged performance. The scene in which he reluctantly agrees to let Diana undergo electroshock treatment is all but impossible to shake off. Mazzie and Danieley plan to be in the show until January. It would be a grave mistake to miss them.