Michael R. Jackson & Anna K. Jacobs' TEETH Musical at Playwrights Horizons + New World Stages — Page 4

"There was a performance cancelled yesterday and people on Twitter are saying the box office is refusing to acknowledge ticket exchanges, making everyone who still wants to see the show pay an up charge of $50-$100 to see it a different day after it was cancelled today."

That makes no sense at all, since ticket prices are only $10-20 more for the extension. It must people who bought the cheapest seats referring to having to go up a price tier or even up to premium tickets, since the lowest-priced seats are pretty much sold out for rest of the run and Playwrights literally has no equally-priced seats left, but there's no scenario where they'd have to pay $100 more.

Edit: I guess the $100 more has to do with the young/student membership seats, which offer $10-20 tickets.

It would be nice, but Playwrights is under no obligation to move you into a premium seat at a later performance just because your show is cancelled.

What a shock, people on Twitter exaggerating things.

Updated On: 3/7/24 at 10:18 AM

ErmengardeStopSniveling said: "As long as they did an automatic refund, they have the right to charge whatever they like for future performances and treat "rebooking" the same as a new ticket sale.

The bigger issue is what we saw 4 years ago when COVID burst onto the scene: nonprofits that wouldn't give people automatic refunds and instead tried to turn those purchased tickets into credits for future shows or donations towards the company, because in reality the company probably wasn't holding the money in escrow and had spent it as soon as they got it."

Roundabout put a time limit on it too. I planned to use the credit to see C,oC but the new dates weren't when I was traveling and the stuff they had while I was in the city wasn't interesting to me. I ended up losing that money.

The show will probably extend one more time, through April 28, and I'd expect it to happen upon opening at the beginning of next week.

Updated On: 3/7/24 at 05:28 PM

Show tonight canceled. I believe third day in a row.

Well, that was wild! This one's chaotic, fun, and gross, and I enjoyed it more and more as the plot took off and it leaned into its culty horror aspects. I couldn't think of a better place to spend International Women's Day.

Reading through earlier posts on here, it sounds like they've tweaked this a good deal over previews. I presume that they've cut some songs because the balance of songs versus book scenes felt right and the placement of the songs seemed appropriate. I'm excited to hear the score again and it's not overloaded by any means. I've already listened to the title song video that they've released a bunch of times, and it'll be stuck in my head for a while! However, a few songs slowed the momentum. They're highly enjoyable and get good reactions but either go on too long or don't feel like they're moving the plot forward as much as they could. There's room to improve the pacing, in my view. The plot takes its time to get going, and the fact that the set stays pretty stagnant early on exacerbates this - the earlier scenes feel like a lot of setup and the momentum doesn't pick up until the teeth come out. I agree with others that they could easily make this two acts. Alternatively, they could streamline the first half of the show before it goes full horror and get to the chomping faster.

Everyone was on tonight and the casting is top-notch. Alyse Alan Louis hits both the pure and unhinged beats, Steven Pasquale is spot-on in each of his roles, Jason Gotay's song about modesty is a hoot, and Jared Loftin just about walks away with each number and one-liner he's given. The audience, which was HIGHLY enthusiastic tonight, was especially into Loftin's performance. Each of the PKGs brought distinct personalities to their parts.

Will Connolly's acting is excellent and I found myself watching him a good amount, but I feel like the show isn't sure what it wants Brad's role to be. They set him up like he's going to be more of a foil than he is - they give him his backstory and Truthseeker scenes - but he doesn't feel like a true adversary to Dawn, and the time we spend with him doesn't feel completely justified as a result.

The ending sounds like it's indeed changed since earlier previews, based on the posts on here. In the current ending:

I'm curious to read the reviews and more reports as the run goes on to see if they continue to make changes, since it sounds like they're actively working to make improvements.

God, I love off-Broadway. It's weird, offbeat stuff like this that keeps theatregoing fun.

Has anybody tried the rush line? What's it like and how early should I get there?

gretamusical1930 said: "Has anybody tried the rush line? What'sit like and how early should I get there?"

Last Tuesday I got to the box office at 3 (it would open at 4 for rush) and was second in line. By 3;30 there were two others behind me, but then we were told that the performance that night was canceled so i don't know how many of us (if any) would have gotten tickets. But just a data point in terms of when people might show up on a weekday.

Does anyone know why no media outlets have posted any reviews? Opening night was two days ago and despite my constant searching, I can't find a single review for the show posted anywhere. Playbill also hasn't posted their usual "Review Roundup" as they do for most shows.

We expecting an extension? Most of the run sold out and the discount tickets they sold them pretty quickly so hoping to catch this

The audition notice seemed to indicate that this could extend to max 4/28, so my guess we get 2 more weeks after reviews come out (3/19 now).

Updated On: 3/14/24 at 11:37 AM

Considering they changed the ending as recently as a week ago, I imagine it wasn’t enough time to get reviewers in before opening night proper.

The show is wild. The tone is somewhere between a more serious Little Shop and a more self-aware Carrie with a late turn toward, of all things, The Bacchae, and it smartly lets the audience’s anticipation for what we know is coming build tension and momentum.

It’s at its best when it focuses on Dawn- the men’s rights stuff with Brad feels a little confused much of the time and his misogyny never really is coherent. And the ending kind of goes off the rails and feels suddenly way too expansive and mythic, with a muddled message that felt a bit like everyone just trying to wrap it up quickly.


But even if they don’t stick the landing, it’s very thrilling to see how far a musical can go. Michael R. Jackson’s proven that he’s willing to push the medium more than nearly any other composer working right now. And unlike White Girl in Danger, this production is well-staged, tight, and focused. And his score is extremely strong and one I would immediately revisit if I could.