See it if you like theater that challenges conventions of staging & script, & you like performing that is not confined to the embodiment of character.
Don't see it if you think the extensive use of direct address to an audience in the theater—storytelling—is a kind of cop-out.
See it if you like cutting edge theater and can embrace a bit of confusion to see an old story in a very new light.
Don't see it if you like traditional theater and are put off by gender fluid characters.
"It is surprisingly easy to follow the plots and characters within these stories framed by stories framed by stories. The ambiguity that pervades this production is deliberate and of a different order...If this show is inevitably and openly defined by a 21st-century gaze, it also revels in the timeless and transcendent power of its source material. Watching 'Pay No Attention,' we are much like Scheherazade’s enraptured sultan, still listening to what she has to say, and still trying to make sense of it."
"It is clear that this cast has an almost academic grasp of the material...At times, however, the plot lines are difficult to follow and I got lost in the back and forth of the piece. Though I felt taken care of by the earnest ensemble, it’s hard to sink in and connect when a piece is this stylized and devoid of vulnerability...Every inch of the massive space is used expertly...With song, dance, and talented storytellers, 'Pay No Attention to The Girl' is inventive and fun."
“‘Pay No Attention’ founders as often as it succeeds...Roles are assigned for the most part by gender...It feels like a missed opportunity not to play more directly with the gender issues highlighted in the stories...The most effective sections were the most straight-up storytelling...Stabs at different styles and techniques–clearly scripted stumbles and verbal slips; movement sequences with over bright, overloud pop music; the occasional song–didn’t connect as well with me.”