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When a successful show gets a major cast change, there's an assumption its best days are over. But that's far from the case with two highly-acclaimed musicals this summer.

Just when it seemed the superlatives couldn't get any more super, "A Little Night Music" gets Bernadette Peters and Elaine Stritch; and now “Next To Normal” stars Marin Mazzie and Jason Danieley, and both shows are better than ever.

I reviewed "Night Music" a few weeks ago, now it's time to sing the praises of the extraordinary "Next To Normal."

Marin Mazzie, taking over for the Tony-winning Alice Ripley, is magnificent. Vocally, she's at the peak of her talents. Her crystalline voice throbs with a power and precision that is incomparable. As Diana, the bi-polar, delusional wife and mother at the center of the story, she reaches deep into the character's psyche with a shattering performance. The libretto charts a chilling course through Diana's tormented decline, from curiously odd behavior to full-blown mental illness. And when she speaks of knowing what it's like to die alive, we travel down that rabbit hole right along with her.

The production, under Michael Greif's perceptive direction, has a greater clarity now. The characters' actions and motivations seem more honest. And the songs by Tom Kitt and Brian Yorkey, combining lyrical elegance with driving rock rhythms evoke a cathartic intensity that builds to fever pitch.

In the role of Diana's supportive husband Dan, is Mazzie's real-life husband Jason Danieley. Tapping into what can no doubt be a personal well of emotion, he wrenchingly captures the frustration of a loving spouse at a complete loss of direction.

Also new to the cast are a couple of phenoms – Meghann Fahy as the gifted, but neglected daughter Natalie, and Kyle Dean Massey as son Gabe. They, along with originals Adam Chanler Berat and Louis Hobson, complete an ensemble in perfect harmony.

Truly valuable art, no matter the form, has the ability to evolve over time. “Next To Normal,” which began off-Broadway 2.5 years ago is that rare example of theatrical art that seems to have transformed itself from an admirable show to a work of inspired collaboration.