'Next to Normal' a searing portrait of mental illness

Watching “Next to Normal” — the 2010 Pulitzer Prize winning musical about a woman struggling with bipolar disorder and the impact it has on her family — isn't easy.

Yet this fearless, heart-rending show by composer Tom Kitt and writer/lyricist Brian Yorkey is an immensely satisfying experience. And not just for the compassionate, uncompromising way it examines mental illness and damaged families. “Next to Normal” raises complex and important questions: Which part of ourselves are we willing to sacrifice to be “normal”? To what degree are we willing to accommodate others? And what are we to do when personal fulfillment comes at the expense of the people we love?

No question, mental illness — much like spousal abuse and murder — makes a less-than-ideal subject for a musical. But that hasn't prevented “Carousel” and “Sweeney Todd” from becoming classics. “Next to Normal” seems poised to join their ranks. If the show that opened at Chicago's Bank of America Theatre Wednesday is any indication, it won't be long.

Yorkey contributes wry dialogue and insightful lyrics. Kitt's contemporary score, meanwhile, combines a smattering of jangly pop, country western and arena rock, with a nod to 20th century art songs.

And then there's the story: “Next to Normal” is an engrossing, multilayered show, searing in its depiction of loss, grief and the strain chronic illness places on a family. The action unfolds on Mark Wendland's austere, three-tiered set made up of chain link and metal scaffolding which provides structural support but not the nurturing environment that might help heal the family's wounds. It's the home of the not-so-normal Goodman family comprised of the bipolar Diana (a raw, mesmerizing turn by Alice Ripley reprising her Tony Award winning performance), her well-meaning husband Dan (a performance of fierce devotion by Asa Somers), teenage daughter Natalie (an engaging, thoroughly convincing Emma Hunton) and son Gabe (the lithe, nicely ambivalent Curt Hansen).

The musical chronicles Diana's struggle to manage her illness, first with pills, prescribed by Dr. Madden (Jeremy Kushnier), and later through electroconvulsive therapy, prescribed by Dr. Fine (also played by Kushnier), whose drastic measures may not suffice. She is not the only casualty, of course; her family suffers immense collateral damage.

The superb cast also includes the endearing Preston Sadleir as Henry, Natalie's understanding boyfriend. The performances, under Michael Greif's finely attuned direction, have a kind of rough beauty and naked power. Emotionally gripping, the acting is unbearably honest. That's where the power of this show rests.

And that's where Ripley, in particular, excels. On opening night, it sounded as if she had problems with her voice which has prompted discussion because of its distinctive timbre and phrasing. But the rough edges work for this character, a physical manifestation of psychological anguish that makes for a memorable performance.

<b>“Next to Normal”</b>

★ ★ ★ ½

<b>Location:</b> Bank of America Theatre, 18 W. Monroe St., Chicago (800) 775-2000 or broadwayinchicago.com

<b>Showtimes:</b> 7:30 p.m. Tuesday and Thursday; 2 and 7:30 p.m. Wednesday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 2 and 7:30 p.m. Sunday through May 8

<b>Running time:</b> About two hours, 20 minutes, with intermission

<b>Tickets:</b> $ 32 to $ 95

<b>Rating:</b> For adults, contains sensitive subject matter and strong language