All We Really Want: A Filmmaker’s Review of NXT Generation Theatrics’ “Jagged Little Pill”
The cast of Nxt Generation Theatrics’ Jagged Little Pill take their bows during curtain call.
I saw Nxt Generation Theatrics’ production of Jagged Little Pill today, and as an independent filmmaker, I left genuinely impressed.
This nonprofit company—run by young artists aged 16–25—chooses to pare the piece down: instead of the usual spectacle that often surrounds this musical, the production places the story and the characters front and center. That choice pays off. The emotional core of Diablo Cody’s book, paired with Alanis Morissette’s raw, confessional songs from her iconic Grammy Award-winning album, feels immediate and urgent. Without the distraction of excess theatrics, you can actually hear and feel the pain, confusion, and occasional hope that drives the narrative.
The ensemble delivers consistently strong work, but a few performances stood out. Derek Bedell brings a believable, textured intensity to his role of Nick Healy; Sarah Ford navigates complex emotional shifts with surprising maturity as Mary Jane Healy; Spencer Gibson Hazen finds small, telling moments that anchor his character of Steve Healy; Felicity Mundy and Maura Dempsey create real chemistry and vulnerability as Frankie Healy and Jo Taylor respectively; Ava Lane’s choices feel lived-in and true as Bella Fox. Even Jackson Mizel’s take on the character of Phoenix was really good. Together, they all make the characters feel lived-in rather than performed.
Ensemble member and understudy Sarah Lepre performs a post-show encore of “You Oughta Know,” which brought the audience to its feet.
Technically, this production punches well above its weight. Director Lana Schwartz’s vision really ensured the show’s themes were as loud and resonant than ever before. Her attention to detail in every stage direction and analysis of the music shined on the stage.
Ziggy Bornas’ lighting design is particularly notable—Broadway-caliber in scope and imagination—using light to shape mood and reveal emotional beats in a way that elevates the whole piece, especially during the number “Uninvited.” Sound and pacing are tight, keeping the show propulsive without rushing the quieter moments.
The stripped-back approach allows thematic elements—addiction, identity, family dysfunction, and generational trauma—to breathe. Those themes are handled with care and clarity; the show doesn’t shy away from discomfort, which makes the cathartic moments land harder.
After the show, we were treated to a post-show encore of the showstopper “You Oughta Know,” delivered by understudy and ensemble member Sarah Lepre, who energized the audience and made the entire production end on a gigantic, unforgettable high note.
Director Lana Schwartz introduces the show.
A minor note, which was a small issue of mine when I saw the Broadway production, is that the music felt a little too loud at points. None of it undercuts the overall achievement.
In short: this is a compelling, emotionally grounded production by a young company doing courageous work. As Jagged Little Pill was the last Broadway show I saw (in 2019) before the pandemic shutdown, it really did feel like a full-circle moment for me to see this story told again, this time with an entirely different, but distinctive vision. With strong direction, a committed cast, and standout technical design, Nxt Generation Theatrics proves they’re cultivating real talent—and I’ll be watching these up-and-coming performers’ and creatives’ careers from here on out. They earned their standing ovation.
