Go to a show, buy some tickets!

Since it's bypassing Boston, I expect quite a few New England theatre fans will trek to Providence next year to see Alice Ripley sing her heart out in the touring production of Next to Normal.

It's not often that a performer goes on tour in her Tony-winning role and I thought Ripley gave a gut-wrenching performance as a wife and mother in the throes of mental illness. Here's my review of the musical, which you can still see on Broadway.

Individual tickets go on sale Monday, July 26, at 10 a.m. at the Providence Performing Arts Center. But you can click here to buy them now, using the code PPAC. Next to Normal runs from March 22-27, 2011.

Other musicals on PPAC's 2010-2011 lineup that go on sale next week include South Pacific (Dec. 7-12), In the Heights (Jan. 11-16), and West Side Story (April 26-May 1). I enjoyed all three of them on Broadway.

As President Obama said last night, during a concert at the White House saluting Broadway and musical theatre: "Not that I’m trying to boost the economy or anything but go to a show! Buy some tickets!”

Let's expand the Pulitzer Prize for Drama

Now that I've digested the drama surrounding the awarding of this year's Pulitzer Prize for Drama to the musical Next to Normal, here's a thought: has the award outlived its usefulness in its current form?

Newspaper magnate Joseph Pulitzer, who established the prizes in his will as "an incentive for excellence," empowered an advisory board to make changes "if in the judgment of the board such suspension, changes or substitutions shall be conducive to the public good or rendered advisable by public necessities or by reason of change of time."

For example, since the inception of the prizes in 1917, an award has been added for photography. Beginning in 2009, the journalism competition was expanded to include online-only news organizations.

Those additions reflect technological advances and changes in the way Americans view the news. They make sense.

The drama prize dates to a time when there were no movies or television. Drama generally meant theatre and theatre was a form of mass entertainment. If the prize was centered around New York productions well, there probably weren't many, if any, regional theatre companies.

So, here's my proposition: if the goal is to reward excellence in dramatic writing, preferably on an American subject, maybe it's time to expand the definition. Let's open the Pulitzer Prize to screenplays written for movies and television in addition to plays written for the stage.

Okay, I'm being a bit provocative here. I realize it's not likely to happen. Screenplays aren't generally read for their literary value. They're sometimes group efforts rather than the work of a single individual. And there's value in promoting playwriting as an American art form.

But American culture has changed since 1917. In a given year, it's possible the finest dramatic writing may appear not on stage but on television or at the movies.

Next to Normal wins Pulitzer Prize

The 2010 Pulitzer Prize for Drama was awarded today to Tom Kitt, composer, and Brian Yorkey, lyricist and book writer, for Next to Normal.

The citation calls it "a powerful rock musical that grapples with mental illness in a suburban family and expands the scope of subject matter for musicals."

I did not see this one coming but I think it's a well-deserved award.

I know Next to Normal has provoked controversy for its depiction of psychiatry and of a woman in the throes of mental illness. And I completely respect people who take an opposite view. But please, hear me out.

While I don't have experience with anyone in my family, I know people who suffer from mental illness. I know people who have committed suicide, including someone who killed himself after he decided to stop taking his medication.

You can criticize the choices Diana, the main character, makes as a woman with depression and bipolar disorder but you can't deny that sometimes, people in her situation do make those choices. Depicting them is not the same as endorsing them.

What gives this work its power and emotion, what makes it so gut-wrenching is that we see the devastating impact Diana's illness has not only on her life but on the lives of her husband and daughter. I felt nothing but compassion and greater understanding of their plight.

Kitt and Yorkey, who won the Tony Award for Best Score, convey so well what each character is going through - how they feel, their fears and frustrations - to a vibrant rock 'n' roll beat.

As I said in my review, I did not take the musical as an attack on psychiatry or on antidepressants.

Rather, I think it's an exploration of the difficulty in treating mental illness despite the best efforts of physicians, despite the tools of modern medicine, despite people in its throes wanting to get better, despite the love and care and desperate hopes of families.

Because of the subject matter, Next to Normal is tough to sit through at times but it's one of the most original, compelling works I've seen on Broadway or anywhere else.

Next to Normal is playing on Broadway at the Booth Theatre. A national tour will start in the fall.

A tale of two Broadway shows

The producers of Next to Normal have announced that they've recouped their $4 million initial investment. This is quite a feat for a musical about a difficult subject - mental illness - and without any bankable TV or movie stars.

The New York Times story lists some of the reasons, including a terrific performance by Alice Ripley that was showcased on the Tony awards telecast.

But one question I wish reporter Patrick Healy had asked lead producer David Stone was what effect the show's schedule might have had on its success.

I saw Next to Normal on a Sunday night, a rarity on Broadway, especially for a new show. There's also a Monday night performance, a day when most theatres are dark. (To keep to the eight-show maximum, Next to Normal is dark on Wednesdays.)

In retrospect, this was a savvy move on the part of the producers and may well have helped them recoup. My guess is that given its youthful fan base and lack of competition, Next to Normal fared better on Sunday and Monday nights than it would have with two shows on Wednesday.

On the not so bright side, The Miracle Worker is closing Sunday after 21 previews and 38 regular performances. Despite its starry casting of Alison Pill as Annie Sullivan and Abigail Breslin as Helen Keller, the play received lackluster reviews.

Producer David Richenthal told The New York Times last year that "It's simply naive to think that in this day and age, you'll be able to sell tickets to a play solely on the potential of the production to be a great show or on the potential for an unknown actress to give a breakthrough performance."

While the two leads drew praise, most critics felt the staging didn't work at Circle in the Square and the play would have been better off at a theatre with a traditional proscenium.

I didn't see it, so I can't comment on the quality of the production but I wonder if The Miracle Worker would have been better off opening at a different time of year. It might have sold more tickets in the summer or around Christmas, when tourists flock to New York with children in tow.

PPAC's 2010-2011 season

The Providence Performing Arts Center has announced its 2010-2011 season and I think it's a pretty strong one. It's also a milestone for me - I've seen every show. Here's the lineup:

Radio City Christmas Spectacular, Nov. 12-28

South Pacific, Dec. 7-12

Mamma Mia!, Dec. 28-Jan. 2

In the Heights, Jan. 11-16, 2011

The Lion King, Feb. 1-20, 2011

Blue Man Group, March 4-6, 2011

Next to Normal, March 22-27, 2011

Monty Python's Spamalot, April 15-17, 2011

West Side Story, April 25-May 1, 2011

Things kick off - literally - in November with the Rockettes in the Radio City Christmas Spectacular, which I saw in New York in 2008. It's a great show with some truly spectacular segments featuring those high-stepping dancers. And it'll definitely get you in the Christmas spirit. Here's my review.

Also on the PPAC schedule for next season are five musicals I really enjoyed on Broadway - South Pacific, In the Heights, The Lion King, Next to Normal and West Side Story. I can't say what the touring productions will be like but they're shows I'd see.

Honestly, I'm less enthused about Spamalot, Mamma Mia! and Blue Man Group.

The first two have stopped in Providence fairly recently. Mamma Mia! is a fun musical and I had a good time seeing it on Broadway. I was less enthused about Spamalot when I took in the tour at PPAC in 2008. And I saw Blue Man Group in Boston years ago. Different, but once was enough for me!

Of course South Pacific, West Side Story and The Lion King are classics that probably don't need an introduction from me. But theatergoers in Southern New England might not be as familiar with In the Heights and Next to Normal.

In the Heights, the 2008 Tony winner for Best Musical, refers to Washington Heights, a neighborhood at the northern end of Manhattan that's a Latino melting pot.

It's a sweet and heartfelt look at an immigrant community's hopes and dreams. I loved the choreography and the score that combines hip-hop and salsa with more traditional Broadway sounds.

Next to Normal is something so rare on Broadway, an original musical about a complex subject - a woman suffering from mental illness and the effect it has on her family.

People are divided on it but I gained a greater understanding of the devastating impact of mental illness and how difficult it is to treat. Plus, the vibrant rock 'n' roll score conveys so well what each character is going through. Tough to watch at times, yes, but utterly compelling.

The best theatre of 2009

I've avoided making best-of lists the past couple of years because it's just too difficult. For me, going to the theatre, especially in New York City, is such a treat. Even if I didn't absolutely love the play or musical, there's almost always some saving grace.

So I usually settle for taking note of my favorite performances, which allows me to mention just about everything. But this year, there were a half-dozen shows that moved me so deeply, I wanted to recognize them. After careful study and much thought, these are my picks for the best of 2009. I saw five on Broadway and one off-Broadway. Two were transfers from Chicago and one came from London.

Next to Normal

Composer Tom Kitt and lyricist and book writer Brian Yorkey have accomplished something so rare for Broadway - an original musical about a complex subject. Alice Ripley as Diana, a woman in the throes of mental illness, J. Robert Spencer as her husband, Dan, and Jennifer Damiano as their daughter Natalie were heart-wrenching. The vibrant rock 'n' roll score conveys so well what each character is going through - how they feel, their fears and frustrations. As an outsider looking in, I gained a greater understanding of the devastating impact mental illness has on a family and how difficult it is to treat. Next to Normal was tough to watch at times, but I found it utterly compelling.

Hair

I've always loved Hair and I've always been interested in the 1960s. The current Broadway revival evokes the spirit of the decade without glossing over its tumultuous events. Will Swenson and Gavin Creel are terrific as the charismatic leader of a tribe of hippies and a conflicted draftee, respectively. Under the direction of Diane Paulus, the musical is exhilarating to watch. But Paulus also reminds us of the cost when we send young Americans into harm's way. And fittingly for a time in which inhibitions were cast aside, Hair ends with an invitation to become part of the tribe. As a result, I set foot on a Broadway stage for the very first time. I got to sing and dance (in my off-key, uncoordinated way) and see how things look from the other side. It was the most thrilling moment I've ever had at the theatre and one of the most memorable experiences of my life.

Our Town and Brighton Beach Memoirs

What director David Cromer did so brilliantly in Our Town off-Broadway and Brighton Beach Memoirs in its too-short Broadway run was strip them to their essence: absorbing stories of the daily lives and loves of American families.

As Our Town's high school sweethearts Emily and George, Jennifer Grace and James McMenamin embody the awkwardness of teenagers. And Cromer, as the stage manager, was incredible - so unaffected and genuine, I didn't even realize the play had begun when he started speaking. For the first time, I felt like this play about early 20th century life in small-town New Hampshire could be taking place today. Our Town runs through Jan. 31 at the Barrow Street Theatre in Greenwich Village. Cromer, who helmed the play in its premiere at Chicago's The Hypocrites, is returning to the play as the stage manager tonight through Jan. 3, so this is a perfect time to see it.

And in Brighton Beach Memoirs, Cromer served up a warm portrait of a family scraping to get by during the Great Depression. They're absolutely Jewish but you didn't have to be to appreciate their struggles, their humor and their hopes and fears. As Kate Jerome, Laurie Metcalf was simply awesome, getting to the strength behind the Jewish mother stereotype. And newcomer Noah Robbins was remarkable as the teenage Eugene, so appealing and making Neil Simon's quips sound so natural.

Superior Donuts

Superior Donuts, a transfer from Chicago's Steppenwolf Theatre Company, has Tracy Letts' razor-sharp dialogue and memorable characters, along with a great deal of tenderness and wit. And for me, it was filled with emotion. Jon Michael Hill is amazing as Franco Wicks, an engaging young black man who comes to work in the downscale Chicago donut shop run by Michael McKean's Polish-American Arthur Przbyszewski. I was laughing, hard, at their banter but when Franco pulls out of his knapsack his Great American Novel, my eyes got moist. Stories about aspiring writers always get to me. Of all the shows on Broadway this fall that dealt with race, Superior Donuts was my favorite for the way it explores how we relate to each other as a community, as individuals, as Americans. Sadly, Superior Donuts is closing Jan. 3 at Broadway's Music Box Theatre but you've still got a couple of weeks to catch it.

The Norman Conquests

At the beginning of 2009, this trilogy by British playwright Alan Ayckbourn, which started at London's Old Vic Theatre, was nowhere on my radar. But then the reviews started coming in and they were so enthusiastic I thought well, it'll be an experience - a theatre marathon from 11:30 a.m. to 10:30 p.m., with breaks for lunch and dinner. The Norman Conquests turned out to be one of the best and most unique theatergoing experiences I've had. The six-member cast was superb. Even after three plays totaling about 7 hours I never got tired of watching such vivid, distinct characters interact in ways that were touching and hilarious. I loved them all but Stephen Mangan as Norman was my favorite. He played a character I was prepared to dislike but Mangan made him so sympathetic - even if he was an unscrupulous cad at times. It's a performance that I'll never forget.

Is Alice Ripley's mercury rising?

I'm so glad Downstage Center is back but while the American Theatre Wing podcast was on hiatus, I had a chance to catch up on some of the older interviews.

For example, I hadn't listened to the interview with Alice Ripley, which aired in February 2008. This was before Next to Normal opened on Broadway, when it was at New York's Second Stage Theatre. And she's just as forthcoming as she was when I met her at the stage door.

At one point Ripley is asked about her eating habits. She explains that she's very careful what she puts into her body because it can affect her singing voice. Apparently honey helps her respiratory system.

And then there was this, which truly made me gasp:

"It's always a challenge to figure out what to eat in between shows on a two-show day. Sushi's usually a good thing. But you know you have make sure you eat just the right thing because you don't want to be weighed down by it."

Sushi?! Yikes. Alice, please be careful with that, okay?

Next to Normal

Gratuitous Violins rating: ***1/2 out of ****

I've been fortunate to end each of my past three Broadway seasons with a memorable musical - Spring Awakening in 2007, The Lion King in 2008 and in 2009, Next to Normal, the best new musical I saw this year.

Now don't get me wrong - I loved Tony-winner Billy Elliot. It's just so hard to compare the two. I loved each of them for what they are - Billy's dancing and the poignancy and humor in its story of a young boy discovering his passion.

But with Next to Normal, composer Tom Kitt and lyricist and book writer Brian Yorkey have accomplished something so rare on Broadway - an original story about a complex subject. The result is a compelling and compassionate look at how one person's mental illness can devastate a family.

Alice Ripley gives a searing performance as Diana, a wife and mother struggling with delusions and feelings of depression and the side effects of her treatment. I was in the third row and I'm not exaggerating when I say I could see the pain on her face. She deservedly won the Tony award.

I think it's a tribute to director Michael Greif that despite her episodes of madness, Ripley's Diana never seemed over the top, a stereotypical "crazy person," but always believable. The sparse, almost industrial-looking design by Mark Wendland is the opposite of comforting and homey.

But Ripley isn't the only one in pain and I think that's what gives Next to Normal a great deal of its power. J. Robert Spencer, who plays her husband, Dan, and Jennifer Damiano, as their teenage daughter Natalie, are heartbreaking as they show how Diana's illness has affected their lives.

Adam Chanler-Berat is very sweet and tender as Henry, a boy who loves Natalie and Kyle Dean Massey is mesmerizing as Gabe, who hovers over this story, literally and figuratively. And Louis Hobson, who plays two of Diana's doctors, comes across as caring and professional.

I think that Kitt and Yorkey, who won the Tony for Best Score, do a very effective job of telling the story through song. The vibrant rock 'n' roll sound reminds me a little of Spring Awakening. The lyrics are rich and evocative. They convey so well what each character is going through - how they feel, their fears and frustrations.

In fact, the story is presented so powerfully, as much as I loved it I'm not sure I could ever sit through Next to Normal again. Some parts were pretty tough to watch.

I'm not saying Next to Normal is perfect. For one thing, there's a plot point that's a mystery throughout the first act and I'm not sure Yorkey and Kitt made the right decision in stringing us along. The way it's finally explained is different from what I expected. And I'm not sure I totally buy the explanation.

I know some people have criticized Next to Normal as an attack on psychiatry, as an endorsement of a very risky path for someone like Diana. (For a spoilerish but insightful discussion, check out Everything I Know I Learned From Musicals.)

While I respect those opinions, and I think my friend and fellow blogger Chris Caggiano makes some excellent points, I honestly didn't see Next to Normal as bashing psychiatry or treatment for mental illness or even romanticizing it.

For one thing, I don't think Diana ever leaves the care of a doctor. And I think that for people struggling with mental illness, events can unfold exactly the way they do in this musical. Sometimes treatment works but sometimes it doesn't. Or it works for a time and then stops. And I admire Next to Normal for not trying to tie things up neat and tidy.

I see Next to Normal as a depiction of the difficulty in treating mental illness despite the best efforts of doctors, despite all of the tools that modern medicine has to offer, despite people in the throes of it wanting to get better, despite the love and care and desperate hopes of families.

The talented and gracious Ms. Ripley

One of the thrills of going to Broadway has been the chance to meet the actors afterward and get my Playbill signed.

It's not simply the signature - it's hopefully sharing a few words with a performer whose work I've just enjoyed. You can't do that after watching a movie or a tv show.

I realize that the actors don't have to come out, so whenever they do I appreciate it. This time, like my previous trips to New York, I've had some wonderful experiences.

But seeing the herculean effort Alice Ripley made to greet fans at the stage door after Next to Normal Sunday night truly was something special.

This was her second show of the day in a very demanding role that's almost entirely sung - there's very little spoken dialog in Next to Normal. So she must have been exhausted. Still, she looked great - full of energy, talking and posing for pictures. (And as you can see, she has a pretty distinct signature. It's like a work of art!)

I'm not very good with crowd estimates but there must have been at least a hundred people waiting for her at the Booth Theatre stage door, in Shubert Alley. Her fellow cast members, J. Robert Spencer, Adam Chanler-Berat, Kyle Dean Massey and Louis Hobson, had already come out and signed.

(The only one I missed was Jennifer Damiano. This has happened to me before, where I've gotten every cast member's autograph but one. There must be a rule that one person must stay away from the stage door, just like one Cabinet member is at a secure and undisclosed location during the president's State of the Union address.)

Ms. Ripley took a long time to make her way around the circle of fans. She wasn't simply signing her name, she was stopping to talk with almost everyone. As she got closer to where I was standing, I could tell that she was having some pretty intense conversations.

My guess is that because she plays a woman struggling with mental illness, she meets a fair number of people who have a family member in a similar situation. And from what I could tell, she wasn't brushing anyone off but was taking the time to listen.

When it was my turn, I congratulated her on her well-deserved Tony award. I told her I thought Next to Normal was such a compelling look at a family in crisis.

I expected her to thank me and move on, but she kept talking, about how this was such a great role for a woman and how most musicals are centered around men and she's been waiting for this opportunity for so long. She just volunteered all of this. I didn't even have to ask a question!

The one thing that made me angry was the woman standing next to me with four Playbills. I asked her why she was getting four of them signed and she said two were for friends and two were for her.

Now, I don't have a problem with getting a Playbill signed for a friend. It's a wonderful, thoughtful thing to do and I treasure the ones friends have gotten for me. I've done it myself for other people. But four? That seemed excessive. I'm just hoping none of those end up on eBay.

As I left Shubert Alley I could see Ripley still talking to the remnants of the crowd. What a gracious, classy woman. I'm so glad that I made a point of telling her how how much I appreciated the time she spent with us.

So here's to you, Alice Ripley and to all of the other actors who've taken the time to sign Playbills, pose for pictures, share a few words with fans. For me, your graciousness is part of what makes going to the theatre so exciting and so unique.