When I saw Next to Normal on Broadway, I was of two minds. For much of the first act, I glowered in my seat, overwhelmed by the Tom Kitt/Brian Yorkey score – too many lyrics, loud music of the pop-rock-showtune mega-mix variety and super-slick storytelling and direction by Michael Greif.

But somewhere in Act 2, I got completely caught up in the story of Diana, a bipolar woman whose illness has dominated and in some ways warped her husband, Dan, and their 16-year-old daughter, Natalie. From the song “Maybe (Next to Normal),” a duet for mother and daughter, to the end of the show, I was in tears.

It was the story more than the staging that got to me, and it wasn’t so much the music but the characters and the choices they make that was ultimately so moving.

So I left with the question: why does this show have to be a musical? The Pulitzer committee didn’t seem to mind when they handed out awards.