Jagged Little Pill - Reviews

I'm also very interested to see what the reviews have to say about this one. I too personally enjoyed it a lot and would definitely put it among my favorites.

I thought the show was an atrocious mess of epic proportions, but I won't be shocked if the critics fall for this.

Morissette is 45; her fan base is approximately that demographic, but plenty of older theatregoers were in their late 20s to 30s and early 40s when her albums dropped, and know and love her songs. That's actually a better target audience, since 45-50 is more likely the group with disposable income. I don't see this show appeal to 30 and younger that much, which isn't a liability.

Expecting mixed to positive as well. I had many problems with the book, the same ones everyone has documented in other threads, but think it'll be a success. I (alone) think a spring opening would've served, since this doesn't feel like a show that will draw in that dark corridor -- Jan - spring break. It feels more spring - summer for initial momentum; But who knows?

Auggie27 said: "Mailhandle, you’re probably right about the under 30s finding the show as it runs; it’s the only nostalgia musical that doesn’t call up boomer memories and can be reclaimed."

Some already found it because of Derek,Kathryn and Laurel previously being in shows that are based towards younger audiences. Pretty popular shows at that.

MayAudraBlessYou2 said: "I expect Lauren Patten to get raves across the board, but most critics will probably not go for this one. I think it resonates with young people most of all, and critics by and large, are not young. We shall see this evening, but I think we know mostly how this will go."

I think praise for Lauren Patten will be qualified in any honest professional critique of the show. Sure she belted "You Oughta Know" quite forcefully, but it was belted in an utter void. That song had no business coming out of the mouth of that rather immature, thin character at that particular moment in the show. The raw sentiments conveyed by this cri de coeur coupled with Patten's histrionics were apropos of nothing that was happening on that stage: a rather uninvolving melodramatic turn in Jo and Frankie's wildly bland and uninteresting high school relationship. I think the critics will award points off for this dissonant display even if a portion of the audience has been successfully manipulated by the pile of goo that was once a quite affecting song. I really love the, shrewd, heart-wrenching simmer to boil rage of "You Oughta Know" so restrained yet unbridled, but it was just nails on the chalkboard squawked unconvincingly by an awkward teen in the context of this show. Sorry, but it so pissed me off and underscored so many weaknesses in the show.

The Observer. Def not a rave.


https://www.google.com/amp/s/observer.com/2019/12/alanis-on-broadway-did-jagged-little-pill-get-sugarcoated/amp/

What theatredarling is suggesting: the song may well fit with the character, but the character hasn't earned the weight of the song's emotional content. It's overheated and overwrought for our investment in this character. It's not enough that it "fits." temperamentally, it unleashes a torrent of feeling that doesn't match the earned stage time of this particular young woman. Yes, the song's lyrics can be justified. We get why she sings it, we get why she's so upset. But it's not her story (David Cote), and the song's size and operatic display are so disproportionate to what happens. A teenager falls for a guy. Her prior infatuation gets jealous. Okay. We get Effiie Melody White being cut out of her career. It's too much, as Cote opines as well. Musical theater craft is about balance and relative weight in storytelling. This song's purpose in the storytelling has been misjudged, regardless of the actor's power and achievement.

Double post

Updated On: 12/5/19 at 08:53 PM