Next to Normal (Regional) (2024)

I was not familiar with Next to Normal. I'm pretty well-versed in musical theater but this one had sort of slipped my attention. But it's one of those that's a big fan favorite of real theater nerds. We did come all the way out to the Berkshires because Aglaia is a fan. And the guy sitting in front of me (who might have gotten the tickets through work, since his co-worker also came but separately) feels similarly to Aglaia about the play. It's emotionally very powerful, quite a downer of a show. It deals with very heavy topics of mental health. And frankly, I don't see the appeal of the music, not very memorable melodies to me. And I kind of dozed off in the first act. The second act is stronger on the whole. But the big reveal in Act I is revelatory. It makes you rethink everything you've seen before, all the blocking, the dialogue, the acting choices.  That's really well done. The set is fairly simple with two levels. The second level is notable for the circular sliding door, with a step that I thought for sure someone would trip over. The production also uses projections on the white wall of live footage of the characters we're seeing on stage. The theater is small enough that you don't exactly need the magnification. If anything, I thought the projections were kind of distracting. The actors in this regional production at the Barrington Stage Company are all great, especially Natalie Joy Johnson in the lead role of Diana. And Joseph Morales who plays Dr Madden kind of reminded me of my own therapist; something about the way he dresses and talks.

Cats: The Jellicle Ball (2024) (Off-Broadway)

The cherry on top of the inaugural season at PAC NYC, Cats: The Jellicle Ball may just be the gayest thing I've ever seen. I mean that in the best way. It's a fun time, honestly to the credit of the audience. The audience was very into it, cheering and hollering and dancing along. There was the guy to my left kneeling on his high stool at the cabaret table, yelling "Bitch!" at every cat to strut down the runway.  There were no fewer than 2 standing ovations in the middle of the show, including a showstopping Memory. And the curtain call was a wonderfully energetic party. There is a lot of crowd interaction at the cabaret tables; I gladly sat a little further back in the orchestra. The stage is a catwalk, with seating on either side as at a fashion show, and then cabaret seating around the front part of the stage. All good seats with unique perspectives on the show.

On it's face, it's not an obvious combination, the camp of Cats and the Ballroom culture of New York in the 80s. But there's a message in there about belonging, and embracing being yourself, and finding your community. There isn't exactly a plot to Cats, not a sensible one anyways. And that sort of lends itself to Ballroom competitions, running category by category, introducing new cats who aren't necessarily dressed as cats but as whatever extravagant outfit suits them. Junior LaBeija from Paris is Burning plays Gus as the emcee. He is fantastic, co-leading with Andre DeShields, a cast that comes half from the theater world and half from Ball culture.

Despite all the excitement, I did doze off a little in the first act, because again there is no plot. There is a little bit of plot in the second act with Old Deuteronomy taking the fall for the stunting (robbery) Macavity is responsible for. Andre DeShields plays the wizened regal old cat, with a fabulous wig and a luxuriously slow gait. Magical Mr Mistoffelees brings Old Deuteronomy back. And finally the old washed up queen Grizabella, a former champion carrying around her old trophy, who gets no respect from the new cats who don't know their history about those that came before them, belts out Memory and becomes The Jellicle Choice, whatever the heck that means. She either dies or attains enlightenment in cat heaven or god knows. Cats as a show is still nonsense but this is stylish nonsense that somehow manages to be as life-giving as The Jellicle Choice and ballroom itself.