Jagged Little Pill preview thread — Page 4

SouthernCakes said: "They should cut Klena’a song in Act 1. It wasn’t needed and wasn’t particularly interesting.

It’s just way too long. The scenes are long. The book is clunky. Why did the doctor walk in and say “Hi, I’m the doctor.” Is Cody trying to keep everything bland and non-specific? The rally was way too obvious.

I applaud you for going twice. This one is tough to sit through! "

They're singing about how they don't know how to solve their relationship and the last part of the lyric is "I am not the doctor"... enter the therapist and "Hello, I'm the doctor". I thought it was really funny.

uncageg said: "Miles, do you think you will be here in the next few months? Why not past date?



edit: Oh wait. I think you said you are using points so it may be a 0.00 priced ticket."

I don’t know how past dating works. I’ve never done it. But yes, I used 1,000 AR points plus $54. I do hope to make it back to NYC again before June or July even if I do/don’t make it back in January.

Updated On: 11/7/19 at 11:56 PM

I guess I’m in the minority but I throughly enjoyed this show. I have been to 30+ Bway shows and I honestly think this one might be my favorite. Personally, I thought the show was very powerful. Vocally, physically (I thought the choreo was really really well done, especially when they were mirroring other characters like MJ or Bella), etc. There was not 1 person in the cast who I thought was even close to a “weak link”. Lauren didn’t get a full house standing ovation tonight but I would say a solid 20 people in the orchestra stood up, and applause lasted for a long while I’m only 18 so I guess I may have a different view on these kind of shows, but honestly I’m not a huge fan of rent or next to normal and absolutely loved this. There were a lot of different plot lines and yes one could make the argument that there were too many, but I did not find it messy or anything and thought that they tied it together well. PLEASE go into this show with an open mind if you haven’t seen it already. Everyone’s opinions are totally valid but personally, I don’t think this show is as bad as a lot of people on this thread are making it out to be. I have seen MUCH worse shows.

I can't wait for next week when I see it!

I'm a biased participant, clearly, but I've found the negative comments on this show analytical and thoughtful, with every single post offering specifics about where the show's various elements fail. Rather than catty, the comments feel infused with genuine disappointment. The three major players constructing this piece are all highly gifted, with extraordinary track records, theatrical and elsewhere. Personally speaking, I've been intrigued with this show since I read the NY Times review in May, and leaped to change my schedule to use a Wed TDF offer. This was the show I was most excited about this season. And I rooted for it to coalesce throughout the long, meandering first act, holding out hope til the end. But I'm not alone. At the intermission, the men's room line was peopled with head-scratchers, many savvy theatergoers rooting for the show as well. The man who sat next to me (excellent seats, row F mezz) has seen everything, and is an investor in two shows. He loves iconoclastic material and expressed it prior to the show beginning; he left at the intermission.

This piece feels cobbled together, both overthought conceptually (though the concept isn't really clearly tied to a specific take-away theme) and underdeveloped dramatically. I was truly let-down that it didn't improve in the second act. And I must say: if a minor character stops the show in the middle of the second act -- the only showstopper I observed -- the show has craft problems. This is not a case of "The Miller's Son" serving as counterpoint. The biggest hit has been given to a character we barely know, and she steamrolls over the rest. It's thrilling for all the wrong reasons -- it makes us aware that much of the rest of the music doesn't feel theatrically purposed. Our inability to decipher the lyrics -- and we simply cannot 80% of the time -- makes the juke-boxing of the Morissette catalog an oddity, not a sharp idea well executed.

I haven't posted much in recent years, but only weigh in when I have a strong feeling and want to share particulars and engage. I found the discussion in this thread very measured and respectful. But disappointment inspires evaluation of where things go wrong. We're not catty, or mean-spirited, we are sad that an anticipated piece of musical theater doesn't quite work.

Updated On: 11/7/19 at 07:01 AM

Miles2Go2 said: "Also, if I couldn’t make it, could I change ticket to someone else’s name at box office?

Update: Whelp, I bit the bullet and bought the ticket. There was only one ticket left for only available performance I could attend if I’m in town so fingers crossed."

Just got my confirmation email from AR.

Seat Location: Orchestra O 104

Looks like if should be a good seat if not super close. Only concern is Telecharge seat map says front mezzanine overhang starts at Orchestra Row K.

I have sat in the very last row, house right Orchestra and had no problem with the view.

jonah3500 said: "What age is it appropriate for? I’m 14 and I just saw a sign saying there’s distressing content including sexual assault and drug abuse, but the website said it’s 14+. I’ve seen Book of Mormon and Waitress already. Is JLP’s content at about the same level of appropriateness as either of those? What’s the worst thing that happens?
Thanks in advance."

TKTS lists age guidance for JLP as 15. For reference, the TKTS age guidance for Waitress is 13 and for The Book of Mormon is 16.