David Mirvish/Jagged Little Pill, book by Diablo Cody, lyrics by Alanis Morissette, music by Alanis Morissette and Glen Ballard, choreographed by Sidi Larbi Cherkaoui, directed by Diane Paulus, Princess of Wales Theatre, until Nov. 26. Tickets here.
Yet again, another jukebox musical, this time using the songs of Canadian pop icon Alanis Morissette. Although I am absolutely unacquainted with any of Morissette’s songs, I was, however, expecting a class act with this Tony Award-winning production, and I’m glad to report that I got it (mostly).
For one thing, the legendary, multi award-winning, uber-talented director Diane Paulus helmed the show, while the book is by the brilliant Diablo Cody, who won the Oscar for her original screenplay for Juno. As well, to my delight, the choreographer is one of my favourite European dancesmiths, Sidi Larbi Cherkaoui. We’re talking royalty here.
It appears that the title of this 2018 show is taken from Morissette’s eponymous 1995 Grammy award-winning studio album. Apparently the songs, written with Glen Ballard, are a sea-change from Morrisette’s previous pop-dance albums. Jagged Little Pill is considered, so they tell me, alternative rock, influenced by post-grunge and pop rock. The songs themselves are angst-filled, and deal with heavy themes like failed relationships, pain, aggression, and empowerment. There are certainly very few jolly tunes that I could detect. In fact, I came away feeling that Morissette writes victim songs.
Which brings me to my usual bugaboo. Jagged Little Pill is a case where I really, really wanted to hear the lyrics, and, yes, here comes the dreaded D-word. Diction is simply not there. I had to latch on to the few words in a line that I could make out, to guess the meaning of the song. Only one performer, Benjamin Eakeley as the father, expressed his words clearly.
What saves the show, however, is Cody’s dark storyline and the very good acting on the part of the cast, not to mention Paulus’ excellent direction with seamless transitions. She is a master at work in this production.
Cherkaoui has created an eye-catching movement chorus (maybe a little too busy), that reflects the agony of the moment, as well as having shadow dancers enacting the suffering of individual characters. There is also a clever, unobtrusive set by Riccardo Hernandez, enhanced by Lucy Mackinnon’s video projections. For me, without the lyrics, Jagged Little Pill became an interesting play.
At the opening, we meet the suburban Connecticut Healy family. Mother Mary Jane (Julie Reiber) is writing the annual Christmas letter, which is shown to be all lies as the musical progresses. As well as father Steve, there is son Nick (Dillon Klena), recently accepted into Harvard, and adopted Black daughter Frankie (Teralin Jones), who has gay/bi/trans tendencies, and is an activist for various causes. She, Black in a very White society, feels like a fish out of water.
Subplots revolve around Frankie’s gay friend Jo (Jade McLeod), and Phoenix (Rishi Golani), a boy who captures Frankie’s interest. There is also a rape without consent story featuring Bella (Allison Sheppard) and Nick’s pal Andrew (Jordan Quisno).
In other words, Cody has managed to cram in almost every topical issue of the day. If only I could have heard all of Morissette’s lyrics.
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