Another Jukebox Musical

Jagged Little Pill

The jukebox musical has become a staple of Broadway and London’s West End, but there are two kinds of shows. The first is the biographical musical that details the early years and growth of a particular singer or pop group through their songs. An example of this is the recent National Tour of “Tina: The Tina Turner Musical” or Broadway’s “Ain’t Too Proud: The Life and Times of the Temptations.” The other kind of jukebox musical is one in which a fictional story is built around the music of several pop singers or groups, as in Broadway’s “&Juliet,” or around the best songs of one particular musician, like the ABBA musical, “Mamma Mia!”

“Jagged Little Pill” is a musical in this latter category. Taking its title from Canadian singer/songwriter Alanis Morissette’s third album, book writer Diablo Cody (known for her Oscar-winning screenplay for the film “Juno”) won the Tony Award for her libretto. She also used the title as inspiration for this original story, since it partially revolves around a woman’s addiction to prescription pain pills. The musical is filled with almost two dozen of Morissette’s songs, mostly taken from that album, with some presented in full and others only in part. The songs have been orchestrated and arranged for this production by Tom Kitt. But the score, backed by Conductor/Keyboardist Matt Doebler’s onstage band, and hovering over the show on an upstage platform, is extremely loud and a very much overblown. The accompaniment, unfortunately, often drowns out Morissette’s gorgeous, soul-searching lyrics and turns her lovely, poetic melodies into raucous rock anthems.

The production was directed by Broadway’s Diane Paulus, a theatre artist who’s noted for her astounding creativity and inventiveness. In addition to the Broadway production of “Jagged Little Pill,” Paulus is known for her gender-bending production of “1776” (which just toured to Chicago), “Waitress,” the colorful and spectacular revival of “Pippin” and her controversial production of “The Gershwin’s Porgy and Bess.” In this musical, while Paulus has carefully guided her actors with finesse, the story is far too fragmented. It’s like a checklist of multiple important social issues, all in one show. In trying to be all-inclusive the script presents storylines that focus on drug addiction, transracial adoption, snobby class elitism, sexual violation, coping with past trauma, various marital and parental problems, LGBT+ rights and racism, making it difficult for theatergoers to become invested in any one concern.

The entire cast is first-rate. Miraculous force of nature Heidi Blickenstaff leads the touring company as Mary Jane (MJ) Healy. Having played this role on Broadway after the show reopened, following the Great White Way’s Covid shut-down, she knows this character inside and out. Heidi is, in a word, magnificent. Also seen on Broadway in “Something Rotten,” “The Addams Family” and “The Little Mermaid,” Ms. Blickenstaff sings the heck out of this score and makes the role all her own. She’s thoroughly convincing as an upper middle class woman who has become addicted to pain killers. MJ’s convinced that she’s the absolute best mother in the world. Her All-American son Nick, nicely played by Dillon Klena, is well-liked and has been accepted to attend Harvard. Her adopted, African-American daughter Frankie, played by the luminous and likable Lauren Chanel, is her little princess. The teenager enjoys creative writing and supporting worthy causes. And Mary Jane’s hardworking hubby, Steve, sensitively portrayed by Broadway star Chris Hoch, works sixty hours a week. He earns the kind of money that enables Mary Jane to live the lifestyle she loves…including buying and becoming addicted to opioids. This seemingly perfect and happy family that we meet in the first scene is hiding all kinds of problems and concerns, all of which become apparent throughout this two-and-a-half hour musical.

More standout performances in this production include effervescent and musically gifted Jade McLoed as Jo, Frankie’s spirited best friend and love interest. Ms. McLoed is given some of Alanis Morissette’s best songs to perform, which she does passionately and bringing down the house. Handsome Rishi Golani is full of boyish charm, caring and concern as Phoenix, Frankie’s new boyfriend. Lovely Allison Sheppard rips our hearts out as Bella, a victim of sexual attack whom no one believes. 

The entire ensemble of young, talented and enthusiastic singers and dancers morph seamlessly into all kinds of supporting roles, such as a drug dealer, doctor, barista, teacher, MJ’s friends and many others. But their finest stage time is spent filling the Nederlander Theatrre with Morissette’s beautiful music and exciting dancing, thanks to Sidi Larbi Cherkoui’s, powerfully athletic, gravity-defying choreography. 

The show features classics from the Morissette songbook, such as “All I Really Want,” “Hand in My Pocket,” “Head Over Feet,” “You Oughta Know” and the stirring finale sung by the entire company, “You Learn.” If only this musical didn’t try so hard to touch its audience with so many social issues. The result is that they all become a wash and cancel each other, failing to make any of them really lodge in our minds.  

Recommended

Reviewed by Colin Douglas