Jagged Little Pill.American Repertory Theater, Cambridge, MA
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Photo Credit: Evgenia Eliseeva; A.R.T.
Review of Jagged Little Pill
June 2018
By Alyssa Krimsky Clossey
Jagged Little Pill is a musical based on the Alanis Morissette album bearing the same name, and released in 1995. Written by Diablo Cody, choreographed by Sidi Larbi Cherkaoui and directed by Diane Paulus, Jagged Little Pill takes place in present time, in a suburban Connecticut town named Greenport. The story centers around a nuclear family, consisting of a mother, father, son and adopted daughter. Challenges arise when their daughter delves into a new love interest, the son is pressured to be perfect in an imperfect situation, and the parents both experiencing marital struggles. The mother finds herself trapped in a web of opioid addiction and obsessive behaviors, while the father is absorbed in his work and dabbles in pornography watching. The teenagers experience relationship struggles with girlfriends/boyfriends and parents, while trying to navigate an accused rape incident. Throughout the play, the parents and teenagers work through their relationships, addictions and societal pressures to be perfect.
The American Repertory Theater (A.R.T.) has become a magical haven where Diane Paulus creates exceptional, well-crafted art on stage. I have had the pleasure of seeing a multitude of A.R.T. productions over the years, as I like to see each production many times. Every time I see an A.R.T. performance, I begin to look at the productions in a more critical light. I notice elements that could be modified, such as small details. I’d like to share some of those observations with you.
I have seen Jagged Little Pill five times. I saw Celia Gooding in the lead, as well as Nora Schell. First, I'd like to talk a bit about the actors. The actors in this production were all highly committed in their roles, with exceptional acting and singing performances from Elizabeth Stanley, Sean Allan Krill, and the great Lauren Patten. The chemistry between Stanley and Krill is strong, believable and dynamic, and Stanley is tremendous in the role of Mary Jane. Her deterioration into a full blown addict in the second act, with her shaking and erratic behavior felt real and was perfectly executed—the focus on the food as a means to happiness (syrup comment was hysterical), making a quiche for Frankie who just left home, Christmas as the “perfect holiday,” her obsession with working out, and her body image challenges, helped to bring her character into full form.
Krill is exceptional in this role as Steve—his physical looks, singing and timing is perfect in the scenes with MJ. For example, when he finds out about Andrew’s incident at the party, the detail of taking off his glasses after he hears the news, his controlled anger, his timing--all excellent. I also loved the scene of “So Unsexy” when MJ drops her pills, and Steve picks them up for her—he is positioned in a way in which he is almost “proposing to her.” He is on his knee, and she is standing up, looking down at him. The “ring” is replaced with her pills, and that is what MJ is “married” to now, her addiction. Great symbolism in this scene.
Ebony Williams is a star. One has a hard time looking away at other dancers when she is performing—the eye focus goes right back to her. She's represents strength, beauty and female power. There were times I didn't notice anyone else but Ebony. That may be because she is often placed front and center, either on a table dancing or on front center stage. I liked her comic timing as the Barista, and on a different note, the obnoxious “moms” in this scene were absolutely perfect. Their voices, their outfits, their sunglasses, brilliant!
Lauren Patten is outstanding. We all know that the song, "You Outta Know" is "the song" of the show, but the way in which it was executed, was like a watching a bomb go off in slow motion. Her character in general is "controlled" in the sense that she is snarky and smart, yet keeps her emotions fairly close to the heart. She doesn’t show too many highs or lows. She is even, cool and collected. However, we knew how angry she was after she saw Frankie and Phoenix in bed, and this built up emotion was finally set free to explode in the song. The audience loved seeing Jo release her rage and anger (verbally and through dance/movement). We could feel it! And we wanted her to express herself, in full force, and she did! I have been an active theater goer at A.R.T. and on Broadway as well, and never have I seen an audience give a standing ovation in the middle of a show. After this explosion of magic, the audience felt the release of Jo's well deserved anger and we all wanted more! It was one of the most exciting moments in theater I have ever seen. Well done!
Another creative and powerful scene was “Uninvited” with MJ's "demon" following her every move. The creativity of this scene was so beautiful and haunting that I found myself entranced in the relationship between good and evil. The scene was simple in set / stage with just MJ sitting on a couch, with her demon by her side. The audience could barely breathe. It was mesmerizing.
A completely fresh and original scene was “Smiling” where MJ is rewinding her life, one step at a time. It was a tremendous piece of detailed, carefully crafted work. The backward jump roping movements (not an easy task!), to the dropping of the tissues, to the obnoxious moms smiling to then having a disgusted face--all noticed, and all exceptionally executed. The creepiness of the “sophisticated” MJ buying drugs in the alley was so sad and desperate, but critical to understanding how “low” you can go. Later in the show when the Doctor said, “What do you think a drug addict looks like?” was key to this show. A drug addict could be you or me. It was important for the audience to hear this line. Each time I attended the show, there was a gasp from the audience. It helped to bring to light the many strong themes of this show, such as “careful who you judge”.
I had some challenges / thoughts with what to do with Sean Montgomery in some scenes. He is excellent in his roles as the priest, and the man on the street in the East Village, as well as the Police Officer. However, I am struggling with Montgomery in the chorus scenes of “No” and some others where all of the chorus looks like teens/20 year olds, and he looks like a Dad dressed up in teen clothes. Maybe if others looked more “adult” and not all in “teen/street clothes” it may help to balance the age difference. Plus, can’t older people be a part of rallies/marches?
Lauren Harris as the teacher was hysterical, the coffee cup and outfit, with her hair up and her “I don’t care attitude” was perfect! The use of the song “Ironic” as a poem was brilliant. And the students critiquing it was genius. Big laughs in that scene. Every time I saw her performance, she was stronger and stronger. The audience loved her.
Antonio Cipriano as Phoenix was perfectly cast. His singing was strong and his chemistry with Frankie was very good. I found he connected better with Frankie when Gooding was performing versus when Schell was performing in the lead. Schell’s voice is excellent, as his her acting—loved her dancing in the chorus, as well as her as the psychologist, but I struggled with the chemistry between her and Phoenix when she was Frankie. Perhaps it was because she seemed taller than him or that she didn’t look 18. The chemistry of Gooding and Cipriano was very good. In the scene with Cipriano and Gooding flirting/talking on the swings, there are some slow moments. The timing could be a bit quicker here. Also, I wanted to bring up the point when Frankie sings the line “I never wanted something rational.” This is saying that her relationship with Jo was not rational therefore are we saying it was irrational? Is that a judgement then to others in same sex relationships that they are in irrational relationships? Perhaps this is too deep, but I wonder if it is sending the wrong message. Maybe that is a line for someone else, like for Phoenix.
I have been thinking about Steve's struggle with his porn website "addiction". We get it; he isn't getting any love/physical attention from his wife, and while the porn concept is not physically "cheating" (it can be emotional cheating though), it can be incredible violence against women, as well as degradation of women. So as an audience member, we have been shown a father who is actively watching potentially degrading violence and aggressive sexual acts against women. Not a great feeling. Once MJ got better after rehab, the show indicated that their "sex life" improved (as the MJ sings "...naked in the living room...yeah!") and they display more physical affectation (they actually shared a kiss in the show in the last scene/scenes). Is the show indicating that Steve's porn addiction just went away? Here's my thought: Perhaps it is indicated that Steve sometimes looks at porn, and they keep the tissue scene (where he puts the tissues on his desk, hysterical!); But it is MJ who obsessively checks her phone, and at some point says, "No porn today, I'll check tomorrow." Meaning SHE is the one more obsessed with him on it, and the truth is, he is just causally looks/looked online at a few sites. If that was the case, where he was a causal porn watcher, I can see it going away or not really needing to be addressed later in the show since the physical/emotional relationship is back on with MJ. But the fact that the show is strongly saying that Steve is looking at it constantly and...that it was never addressed as to how it stopped, or if it stopped, makes the resolution of this porn issue too tied up in a red bow. In summary, I am suggesting the porn concept stays but is addressed in a lighter way; MJ keeps obsessively checking, but Steve is not on the sites on a frequent basis. So MJ is more obsessed about the phone tracking (part of her OCD/addiction issues), and it doesn't seem like it is such an addiction for Steve, it is more of a random act of desperation since his wife is not interested in physical contact.
I struggled with the “Perfect” scene. After seeing it on May 25, 2018, I noticed it may have gotten shorter, and the singing was bolder, as was the lighting direction. That made a difference in a positive way. I found the first two times I saw it in previews, the scene felt a bit long. It’s a slow song, so it’s tough to make it exciting in some ways. It is an important song however because it shows how Nick is feeling the push to be perfect. I felt as though Derek Klena was excellent in the role. I do think that the cello choice should be changed to a different instrument. It feels unrealistic that he would be a jock and a cellist. Plus, he is not holding the bow that well and it doesn’t seem realistic that a jock would be carrying around a huge instrument to school like a cello. I could see this character playing almost anything else, such as a trumpet or drums. But the cello seems forced.
Kathryn Gallagher as Bella was perfect. She moves through her scenes with elegance and determination. Her scene in the bedroom when Jo and Frankie stop by, is extremely powerful and realistic. And the reaction of the friends and their response and support was spot on. "Let's go to the police." Yes. Smart young women who know right from wrong. The writing is perfect in this scene, especially when Bella talks about the weird dolls that were near her during the assault (nice use of the "creepy" doll imagery later projected on the "walls" in the show). A juxtaposition of being surrounded by youth/innocence (the dolls) with the reality of an adult crisis is put upon Bella.
During the “No” scene it was very powerful to have people essentially “touching” actors without their consent; almost in a molesting manner. It made the audience feel uncomfortable and it was unnerving. I appreciate Diane Paulus creating these visuals, because it allowed the audience to see and feel what it may be like to be “attacked” without consent. It was a powerful message. Also I thought the message of “No means no” and “Silence means no” was a critical one. I brought my two young boys to the show, ages 14 and 17, and it was important for them to see such a production where these sensitive topics of rape and consent were discussed so openly. I think all teenagers should see this show.
The singing and acting, stage direction, was fresh and unexpected. I loved the projections and the movement of the set pieces. It was clever and technology driven, and well executed. I loved the hand movements in some of the choreography, and in the musical numbers, I loved the juxtaposition of the actors singing the same song, but with different means/reasons. Such as when Phoenix and Frankie were singing at the swing set “That I Would be Good” and Jo steps in as well to sing. There are a few scenes like this where many characters are going through similar challenges and as a result, Diane Paulus has directed them to collaborate on a song but yet be in their own parallel space. Brilliant!
I am looking forward to seeing how this show transfers over onto the Broadway stage in the near future.
June 2018
By Alyssa Krimsky Clossey
Jagged Little Pill is a musical based on the Alanis Morissette album bearing the same name, and released in 1995. Written by Diablo Cody, choreographed by Sidi Larbi Cherkaoui and directed by Diane Paulus, Jagged Little Pill takes place in present time, in a suburban Connecticut town named Greenport. The story centers around a nuclear family, consisting of a mother, father, son and adopted daughter. Challenges arise when their daughter delves into a new love interest, the son is pressured to be perfect in an imperfect situation, and the parents both experiencing marital struggles. The mother finds herself trapped in a web of opioid addiction and obsessive behaviors, while the father is absorbed in his work and dabbles in pornography watching. The teenagers experience relationship struggles with girlfriends/boyfriends and parents, while trying to navigate an accused rape incident. Throughout the play, the parents and teenagers work through their relationships, addictions and societal pressures to be perfect.
The American Repertory Theater (A.R.T.) has become a magical haven where Diane Paulus creates exceptional, well-crafted art on stage. I have had the pleasure of seeing a multitude of A.R.T. productions over the years, as I like to see each production many times. Every time I see an A.R.T. performance, I begin to look at the productions in a more critical light. I notice elements that could be modified, such as small details. I’d like to share some of those observations with you.
I have seen Jagged Little Pill five times. I saw Celia Gooding in the lead, as well as Nora Schell. First, I'd like to talk a bit about the actors. The actors in this production were all highly committed in their roles, with exceptional acting and singing performances from Elizabeth Stanley, Sean Allan Krill, and the great Lauren Patten. The chemistry between Stanley and Krill is strong, believable and dynamic, and Stanley is tremendous in the role of Mary Jane. Her deterioration into a full blown addict in the second act, with her shaking and erratic behavior felt real and was perfectly executed—the focus on the food as a means to happiness (syrup comment was hysterical), making a quiche for Frankie who just left home, Christmas as the “perfect holiday,” her obsession with working out, and her body image challenges, helped to bring her character into full form.
Krill is exceptional in this role as Steve—his physical looks, singing and timing is perfect in the scenes with MJ. For example, when he finds out about Andrew’s incident at the party, the detail of taking off his glasses after he hears the news, his controlled anger, his timing--all excellent. I also loved the scene of “So Unsexy” when MJ drops her pills, and Steve picks them up for her—he is positioned in a way in which he is almost “proposing to her.” He is on his knee, and she is standing up, looking down at him. The “ring” is replaced with her pills, and that is what MJ is “married” to now, her addiction. Great symbolism in this scene.
Ebony Williams is a star. One has a hard time looking away at other dancers when she is performing—the eye focus goes right back to her. She's represents strength, beauty and female power. There were times I didn't notice anyone else but Ebony. That may be because she is often placed front and center, either on a table dancing or on front center stage. I liked her comic timing as the Barista, and on a different note, the obnoxious “moms” in this scene were absolutely perfect. Their voices, their outfits, their sunglasses, brilliant!
Lauren Patten is outstanding. We all know that the song, "You Outta Know" is "the song" of the show, but the way in which it was executed, was like a watching a bomb go off in slow motion. Her character in general is "controlled" in the sense that she is snarky and smart, yet keeps her emotions fairly close to the heart. She doesn’t show too many highs or lows. She is even, cool and collected. However, we knew how angry she was after she saw Frankie and Phoenix in bed, and this built up emotion was finally set free to explode in the song. The audience loved seeing Jo release her rage and anger (verbally and through dance/movement). We could feel it! And we wanted her to express herself, in full force, and she did! I have been an active theater goer at A.R.T. and on Broadway as well, and never have I seen an audience give a standing ovation in the middle of a show. After this explosion of magic, the audience felt the release of Jo's well deserved anger and we all wanted more! It was one of the most exciting moments in theater I have ever seen. Well done!
Another creative and powerful scene was “Uninvited” with MJ's "demon" following her every move. The creativity of this scene was so beautiful and haunting that I found myself entranced in the relationship between good and evil. The scene was simple in set / stage with just MJ sitting on a couch, with her demon by her side. The audience could barely breathe. It was mesmerizing.
A completely fresh and original scene was “Smiling” where MJ is rewinding her life, one step at a time. It was a tremendous piece of detailed, carefully crafted work. The backward jump roping movements (not an easy task!), to the dropping of the tissues, to the obnoxious moms smiling to then having a disgusted face--all noticed, and all exceptionally executed. The creepiness of the “sophisticated” MJ buying drugs in the alley was so sad and desperate, but critical to understanding how “low” you can go. Later in the show when the Doctor said, “What do you think a drug addict looks like?” was key to this show. A drug addict could be you or me. It was important for the audience to hear this line. Each time I attended the show, there was a gasp from the audience. It helped to bring to light the many strong themes of this show, such as “careful who you judge”.
I had some challenges / thoughts with what to do with Sean Montgomery in some scenes. He is excellent in his roles as the priest, and the man on the street in the East Village, as well as the Police Officer. However, I am struggling with Montgomery in the chorus scenes of “No” and some others where all of the chorus looks like teens/20 year olds, and he looks like a Dad dressed up in teen clothes. Maybe if others looked more “adult” and not all in “teen/street clothes” it may help to balance the age difference. Plus, can’t older people be a part of rallies/marches?
Lauren Harris as the teacher was hysterical, the coffee cup and outfit, with her hair up and her “I don’t care attitude” was perfect! The use of the song “Ironic” as a poem was brilliant. And the students critiquing it was genius. Big laughs in that scene. Every time I saw her performance, she was stronger and stronger. The audience loved her.
Antonio Cipriano as Phoenix was perfectly cast. His singing was strong and his chemistry with Frankie was very good. I found he connected better with Frankie when Gooding was performing versus when Schell was performing in the lead. Schell’s voice is excellent, as his her acting—loved her dancing in the chorus, as well as her as the psychologist, but I struggled with the chemistry between her and Phoenix when she was Frankie. Perhaps it was because she seemed taller than him or that she didn’t look 18. The chemistry of Gooding and Cipriano was very good. In the scene with Cipriano and Gooding flirting/talking on the swings, there are some slow moments. The timing could be a bit quicker here. Also, I wanted to bring up the point when Frankie sings the line “I never wanted something rational.” This is saying that her relationship with Jo was not rational therefore are we saying it was irrational? Is that a judgement then to others in same sex relationships that they are in irrational relationships? Perhaps this is too deep, but I wonder if it is sending the wrong message. Maybe that is a line for someone else, like for Phoenix.
I have been thinking about Steve's struggle with his porn website "addiction". We get it; he isn't getting any love/physical attention from his wife, and while the porn concept is not physically "cheating" (it can be emotional cheating though), it can be incredible violence against women, as well as degradation of women. So as an audience member, we have been shown a father who is actively watching potentially degrading violence and aggressive sexual acts against women. Not a great feeling. Once MJ got better after rehab, the show indicated that their "sex life" improved (as the MJ sings "...naked in the living room...yeah!") and they display more physical affectation (they actually shared a kiss in the show in the last scene/scenes). Is the show indicating that Steve's porn addiction just went away? Here's my thought: Perhaps it is indicated that Steve sometimes looks at porn, and they keep the tissue scene (where he puts the tissues on his desk, hysterical!); But it is MJ who obsessively checks her phone, and at some point says, "No porn today, I'll check tomorrow." Meaning SHE is the one more obsessed with him on it, and the truth is, he is just causally looks/looked online at a few sites. If that was the case, where he was a causal porn watcher, I can see it going away or not really needing to be addressed later in the show since the physical/emotional relationship is back on with MJ. But the fact that the show is strongly saying that Steve is looking at it constantly and...that it was never addressed as to how it stopped, or if it stopped, makes the resolution of this porn issue too tied up in a red bow. In summary, I am suggesting the porn concept stays but is addressed in a lighter way; MJ keeps obsessively checking, but Steve is not on the sites on a frequent basis. So MJ is more obsessed about the phone tracking (part of her OCD/addiction issues), and it doesn't seem like it is such an addiction for Steve, it is more of a random act of desperation since his wife is not interested in physical contact.
I struggled with the “Perfect” scene. After seeing it on May 25, 2018, I noticed it may have gotten shorter, and the singing was bolder, as was the lighting direction. That made a difference in a positive way. I found the first two times I saw it in previews, the scene felt a bit long. It’s a slow song, so it’s tough to make it exciting in some ways. It is an important song however because it shows how Nick is feeling the push to be perfect. I felt as though Derek Klena was excellent in the role. I do think that the cello choice should be changed to a different instrument. It feels unrealistic that he would be a jock and a cellist. Plus, he is not holding the bow that well and it doesn’t seem realistic that a jock would be carrying around a huge instrument to school like a cello. I could see this character playing almost anything else, such as a trumpet or drums. But the cello seems forced.
Kathryn Gallagher as Bella was perfect. She moves through her scenes with elegance and determination. Her scene in the bedroom when Jo and Frankie stop by, is extremely powerful and realistic. And the reaction of the friends and their response and support was spot on. "Let's go to the police." Yes. Smart young women who know right from wrong. The writing is perfect in this scene, especially when Bella talks about the weird dolls that were near her during the assault (nice use of the "creepy" doll imagery later projected on the "walls" in the show). A juxtaposition of being surrounded by youth/innocence (the dolls) with the reality of an adult crisis is put upon Bella.
During the “No” scene it was very powerful to have people essentially “touching” actors without their consent; almost in a molesting manner. It made the audience feel uncomfortable and it was unnerving. I appreciate Diane Paulus creating these visuals, because it allowed the audience to see and feel what it may be like to be “attacked” without consent. It was a powerful message. Also I thought the message of “No means no” and “Silence means no” was a critical one. I brought my two young boys to the show, ages 14 and 17, and it was important for them to see such a production where these sensitive topics of rape and consent were discussed so openly. I think all teenagers should see this show.
The singing and acting, stage direction, was fresh and unexpected. I loved the projections and the movement of the set pieces. It was clever and technology driven, and well executed. I loved the hand movements in some of the choreography, and in the musical numbers, I loved the juxtaposition of the actors singing the same song, but with different means/reasons. Such as when Phoenix and Frankie were singing at the swing set “That I Would be Good” and Jo steps in as well to sing. There are a few scenes like this where many characters are going through similar challenges and as a result, Diane Paulus has directed them to collaborate on a song but yet be in their own parallel space. Brilliant!
I am looking forward to seeing how this show transfers over onto the Broadway stage in the near future.
