I’ve been struggling with this post. My home computer also went bust. It’s not been the easiest to critique Green Day’s American Idiot, and it’s gotten to be quite long, so I’m going to break it up into several posts. The first one focuses on The Book. The second post will focus on The Arrangement and The Cast; the third and last on The Choreography and The Direction with some concluding remarks.
The Arrangement: Tom Kitt’s score does justice to and expands on Green Day’s music through the music and vocal arrangements. Billie Joe Armstrong and Mike Dirnt have great voices and are able to lay down some smooth emotive harmonies between them, but hearing American Idiot in song layers with choral intensity by a strong vocal cast is a treat. Comprised of the entirety of American Idiot, plus two b-side cuts from that album (“Favorite Son” and “Too Much Too Soon”), it’s combined with four songs from the band’s current record, 21st Century Breakdown (“21 Guns,” “Last Night on Earth,” “Before the Lobotomy,” and “Know Your Enemy”) and joined by a beautiful song never before recorded (though heard somewhat in the unreleased AI documentary Heart Like a Hand Grenade), written by Armstrong for his wife, Adrienne, when he was 19 (“When It’s Time”). It’s 90 minutes filled with a strong five-piece rock band joined by three strings of violin, viola, and cello.
Kitt masterfully takes the orchestration for a choral ride while keeping the structure of the original music intact. It’s loud and bombastic when needed, tempting the Green Day fan to bop their head but probably leaving traditional theater goers wondering if they are allowed to tap their feet. Having sat through another rock and roll musical a lot lately, Lizzie Borden (full disclosure: I was in the original production of this show which depicts America’s favorite 19th-century murderess, Lizzie Borden, and love the music, literally, to death), I find myself during that show one of the few people in the audience willing to move my head at all during the production. I feel like a freak sometimes because of it, but you know, you have to do what you have to do. I will admit that on the first night of seeing American Idiot, I fell into the “audience member who refuses to move” theater etiquette category. I was in a hyper-critical mode because frankly, while I have no stake in the production of American Idiot, I want it to be as successful and as good as it can possibly be and not an embarrassment. I love this album too damned much. Since I’m not the greatest fan of traditional musical theater (and frankly, American Idiot borders more on the side of traditional musical theater than not), my hyper-critical critic’s cap was firmly screwed onto my head the first night. On the second night, I decided to ride the wave and was swamped by the musical tsunami. The music is the star of the show.
As I mentioned previously, the book is a bit rushed through due to the timing and intensity of the musical and visual onslaught, leaving the cast with little time to really portray the emotional quality of the louder and faster songs. One of my few critiques of the music is that the cast hasn’t completely allowed themselves to wrench the emotional velocity of the music out of Green Day’s hands and own it. Sure, the cast has a surface of emotion, but anyone can sing Green Day songs loud. My question to the cast is: can you feel them loud? Once they firmly and unequivocally do that, I can only believe that they will find the emotional heart-shaped hand grenades of the material.
Some of my favorite arrangements were “Holiday,” “Favorite Son,” “St. Jimmy,” “Give Me Novacaine,” “Before the Lobotomy”/”Extraordinary Girl,” “We’re Coming Home,” “Whatsername,” “Wake Me Up When September Ends,” “Letterbomb” and “21 Guns” (though the choreography for “Letterbomb” and “21 Guns” had some unfortunate moments visually for me), primarily due to the arrangements and emotional depth that the actors were able to find in the performance of them. (I’ll talk about this more under The Cast section.) “Give Me Novacaine,” started off by Michael Esper, has just the right touch of pathos and reflection to get the song’s emotional arch off to a good start. By the time Tunny finds himself in the war zone and under attack from a blaze of hard-hitting drums, guitars and the electronic boom of cannon and strobe lights, “Give Me Novacaine” becomes the most successful combination of music, staging, and acting with “Before the Lobotomy”/”Extraordinary Girl” coming a close second.
Kitt nicely overlays and intertwines some songs, such as “Know Your Enemy” with the refrain “nothing wrong with me, this is how I’m supposed to be…” from “Jesus of Suburbia,” and it works particularly well with “Before the Lobotomy” and “Extraordinary Girl,” from two different albums. While I’m not a huge fan of the staged flying that takes place during this song combination (it always reminds me too much of Peter Pan), the fly work was moving, particularly for me on the second night. I could almost feel the morphine dripping through Tunny’s veins as he and the Extraordinary Girl made their way through the upper echelons of the open theatrical space.
“Death of St. Jimmy,” “East 12th Street,” Nobody Likes You,” “Rock and Roll Girlfriend” and “We’re Coming Home” (songs that comprise “Homecoming” from the album) are arranged as one continuous song bringing the story to its whirlwind denouement, though “Nobody Likes You” is also appropriated for a portion “21 Guns.”
The vocals particularly soar when the parts are given over to the women: Mary Faber in “Dearly Beloved” and “Nobody Likes You” (parts of the “Jesus of Suburbia” and “Homecoming” movements), Rebecca Naomi Jones (“Letterbomb”), Christina Sajous (“Extraordinary Girl”) and Alysha Umphress, who plays Heather’s friend during “Too Much Too Soon.” Armstrong’s high voice translates well for women (Faber was just fantastic) and I loved the hearty primal scream that Jones let out during “Letterbomb.”
All in all, I thought that the music was fantastic. It’s not a Green Day concert and fans looking for that experience are seeing the wrong show. On the whole, the music was vibrant, exciting, and the band sounded great. While Billie Joe, Mike, and Tre might lurk onstage psychically for the Green Day fan, after a while the band and the cast come pretty close to making you forget that Green Day are not onstage. And that is rare feat, indeed.
“You have to search the absolute demons of your soul to make a great record.” — Billie Joe Armstrong on making 21st Century Breakdown
The cast, among them young veterans of Broadway and off-Broadway such as John Gallagher, Jr. (Spring Awakening), Tony Vincent (Rent), Mary Faber (Avenue Q), and Rebecca Naomi Jones (Passing Strange), is strong and talented. All have amazing voices and they obviously love the music, are incredibly enthusiastic, and are having, as the song goes, the time of their lives (shoot me for even going there). It’s a treat to hear them sing. The entire vocal cast is phenomenal. There’s not a bad voice in the house, and some rise to the challenge of bringing both the emotional quality of their parts together with the songs, particularly Tony Vincent (he’s scary dynamite as St. Jimmy), Michael Esper and Mary Faber, Joshua Henry as the Favorite Son (a cameo anyone would drool over to have), and Matt Caplan.
John Gallagher, Jr’s voice is strong; he sings and performs the songs well, but unfortunately, I could not believe him in the role of Johnny nor the essence of the relationships that he as Johnny, has with Will, Tunny, Whatsername or even St. Jimmy. He never seemed to completely personify the angst and rage — the absolute demons of his soul as Billie would say– that the character obviously possesses. He seemed overwhelmed and flat in the role to me, and not the vibrant, enigmatic character that is sketched out in American Idiot. As the whirlwind center of the impetus to get Will and Tunny to leave Jingletown, the one that gets Whatsername to shoot up despite her reluctance and the one who conjures up his deepest, darkest evil as St. Jimmy, he’s the tornado that sweeps everyone into the vortex with him. And when he realizes how destructive his demons are, how close on the edge of destruction he is, he’s got to claw himself up from the abyss in a real, heartfelt way that should have torn my hand grenade heart out and made me want to throw it far away from everyone to keep them safe. The music did this for me on the second night and not his portrayal of Johnny. (I keep coming back to the “Heart Like a Hand Grenade” metaphor; I’ll talk about this more in the conclusion… if I ever get there…)
In the slight monologues that he’s given he often sounds canned, as if he’s screaming the letters home instead of expressing his inner life. There’s nothing wrong with that if that’s how he’s been directed by Mayer, I suppose, but he unfortunately brings little variety or emotional depth to the inner monologue that he’s presenting or range to the character. Some may view this as my not being able to remove Billie Joe from the American Idiot equation or thinking too much of the intensity of the AI music videos created by director Sam Bayer, and this may be true to some extent. Ultimately, while I enjoyed his performance, per se, I was not convinced that his rage and love led him to his dark persona of St. Jimmy, which left a one-dimensional Johnny for St. Jimmy to play off of. Sadly, for me, he’s not the right actor to portray the part, but he is a good actor and I hope that he soon embraces the demons and develops a deeper portrayal of Johnny.
I was so torn about the above that I asked Dawn (another diehard Green Day fan and theater buff), who went out to Berkeley to see the show what she thought of Gallagher. Her response was similar to mine, but she explained it a lot better in the following :
I agree with everything you write. My problem with him as a character is “I don’t care if you don’t care” — which is ok as sentiment in the show but not ok if that’s the way the audience feels about the lead character. And I do think it’s largely the delivery of the few spoken “letters” — if he’s so disillusioned by his parents and everything in Jingletown then why the hell is he writing them? You don’t get that from the letters — even the one he sends to Will. It’s all random rage. And we get that. We lived through the Bush administration, too. And there’s nothing I would have liked to do than to tune in, turn on and drop out. Certainly the time to do that is in your late teens / early twenties. But Johnny needs to believe that he’s dropping out to something better and you just don’t ever believe that he remotely thinks that he’s doing that — whether he’s going to what is clearly NYC or returning home. The rising and destruction of expectations is what makes that character human, and I don’t think Gallagher delivers that nuance. So he remains very two dimensional, which is not ok if that character is the most fully developed character. All the other characters are foils. And if their character’s development directly reflects the main character development, then they become one dimensional (as is clearly evident for Will, Tunny, Heather, and Whatsername). Only St. Jimmy really escapes that trap because he IS Johnny’s Id or addition. To me, that was the most fully developed character and the dude’s not even real. Which brings Gallagher’s shortcomings even more to the fore.
I’ll have to expand more on what Dawn writes above in The Direction section because I think it weighs directly on what needs improvement in the show. But for now, the rest of the cast:
Tony Vincent, as Johnny’s doppelgänger, St. Jimmy, grabs the character by the throat and never lets go. This glammed-out hardcore has issues and he doesn’t give a shit about how much danger or turmoil he creates in the lives of those around him. It was a treat to hear Vincent sing “St. Jimmy” and “Know Your Enemy” as his voice is the strongest of the cast males and is as clear as a bell. As a huge fan of the song, “St. Jimmy,” Vincent had a big challenge in my eyes, as of all the songs, it’s difficult for me to view “St. Jimmy” outside of Armstrong’s live performances of the song as he chews up the stage and spits out the audience. If there was ever a fan moment of Billie Joe’s shadow onstage for me, it was during this song. Vincent made me (almost) forget Billie Joe and I commend his performance of it as well as relished the moments he had onstage.
Michael Esper as Will probably has the easiest storyline to portray of the three friends, as the reluctant, bitter and unready father and distant boyfriend. He also has the most emotive of songs, the first part of “Give Me Novacaine” and “Nobody Likes You” and both of his turns singing these songs got to me. I almost felt sorry for him during “Nobody Likes You,” even if the character is such a terrible and irredeemable, lout. Esper portrays a quiet and persuasive melancholy as Will and he and Mary Faber as Heather, who I thought had the most resonant female voice in the cast, were quite believable as the harried and young couple.
Matt Caplan gives a solid performance as well, especially since he doesn’t have that much time to establish why his character one minute is melancholy in the city and the next minute is joining the army. He and Christina Sajous have a nice chemistry during “Extraordinary Girl,” and Sajous, who graduated from my Alma mater, Tisch School of the Arts at New York University (as did Theo Stockman from the chorus) uses her body and voice extremely well during this sequence and during the raucus bus ride to the Big City during “Holiday.”
Rebecca Naomi Jones as Whatsername was powerful and worked well as Johnny’s love interest. I was a little confused script-wise how she changed from the sweet girl who Johnny spots in the window to the helion in “She’s a Rebel,” with a purple streak in her hair, but maybe I was just missing something. Her portrayal of the character was good though I wish she had more to play off opposite Gallagher. There was one moment in particular that I connected to in her portrayal of Whatsername and that’s when Johnny convinces her to shoot up for the first time, the look of terror and trust in her eyes was a nice touch. She was also fantastic at capturing much of the raw grittiness of “Letterbomb,” a perfect song to tell Johnny off after he pulls a knife on her. Unfortunately, I was distracted somewhat by the choreography of this song with its “Acid Queen” arm windmills that made me cringe. The Broadway aspects of the choreography didn’t sit well with me throughout the show, but I’ll have to explain what I mean in the next post.
On a last note, Dawn hit a vital point in regards to the characters: they are, with the exception of St. Jimmy, one-dimensional. But as with the choreography, I’ll save that for the next post… and hopefully I’ll get there…