Over the past 20 years, few pop-punk albums have had the social impact that Green Day’s “American Idiot” has achieved. For a generation, it was a pivotal rallying cry that expressed the frustration of a society that had gone astray. Not only that, but it encapsulated the energy within an artistic approach that encouraged somebody to adapt it into a full-stage operatic middle finger. With the recent revival, The Mark Taper Theater has found a new way to bring this story to life through a mix of something familiar with a little new. As a result, the show reflects the durability of time even if it’s otherwise a very dated endeavor.
First, it’s important to note what feels revolutionary about this recent production. This adaptation features collaboration with Deaf West Theater. As one of the progenitors of modern theater that incorporates American Sign Language, they have done admirable work in bridging the potential audiences that could be reached on a stage. Given that American Idiot is a show about giving a voice to the unheard, it’s an especially novel idea that’s given extra credulity by turning into one of the most stimulating musicals of its kind this year. While the central actors speak in ASL, their English-speaking counterparts wander the stage artfully fading into the background to help emphasize the beauty of the deaf community.
Elsewhere is a noble effort to give everything a flashy new sheen. As the actors sing the numbers, predominantly from the albums “American Idiot” and “21st Century Breakdown,” the lyrics are projected on walls around the set in the most stylized singalong imaginable. A band hides in the background on the second floor as everything whirls. For those who attend on the right night, the guitarist may even encourage the audience to perform a full-theater version of the wave as warm-up for the main event. While the show rarely feels like a raucous Green Day concert, it still embodies the anarchic tendencies that contradict theater. In place of Fosse or Ailey style dancing is the punky pogo and middle fingers in between stories of disenfranchisement. While the show blends beautifully to a Broadway ethos, it’s still far from conventional, at times feeling more indebted to the scrappy heart of Rent than its more polished counterparts.
With some regret, the show is limited by its source material. Even if Green Day mastermind Billie Joe Armstrong had written these songs as a thematic story, they’re not a complete journey. It’s at best interpretive, forcing many of the scenes to feel more like rambunctious wandering than profound commentaries of their subject. It’s one of the values of a CD that isn’t fully conveyed on a stage. To the actors’ credits they manage to make for a fun evening. The shortcomings are overdone by a sense of camaraderie that rewards fans of the central songbook. The unity between the various types of actors gives the audience hope of what theater could be in a more inclusive future. However, this show lacks the trajectory of something like The Who’s Tommy, making it closer to a story with a thinly veiled story – and sometimes with numbers that feel included solely because Green Day have written a lot of fantastic numbers.
The unexpected value of American Idiot is also how the construction of the music is the driving force. Many of the louder numbers benefit from ensemble harmonies. Even the extension of turning Armstrong’s solo vocals on the records to multiple roles allows everything to feel richer. Given that there’s enough of a subtle Broadway touch to the punk rock speed, there’s room to believe that this is the mode it always should’ve existed in. Even then, some of the finest moments in the show feature actors wandering the stage with an acoustic guitar, singing very stripped down renditions that encapsulate the anguish in surprisingly raw fashion. Even the shift in showstoppers like “Wake Me Up When September Ends” reflects a melodic balance that will at least amuse those dropping some money on a ticket.
With a bunch of smaller, mostly visual, updates that connect the themes of economic struggles and militarism to contemporary politics (more specifically post-2016 America), the show features a relevancy that hopes to speak to contemporary audiences. It is true that “American Idiot” as an album is likely to remain a favorite among rock enthusiasts. Even its status as a Millennial touchstone may keep it from ever truly going away. However, the question of its longevity as a stage show remains questionable. The songs will always be fun to perform and there’s enough artfulness to make this a thrilling show to watch. However, its nature is esoteric and a bit too vague to fully convey a more profound message. To Deaf West Theater’s credit, the new angle gives it something memorable enough to endure. Even then, it’s not likely to be as life changing as the material it’s based on.
After taking some time off due to financial struggles, The Mark Taper Theater kicks off their new season with American Idiot. The intent is on point, especially with an approach that demands to be seen. It’s the perfect, smaller alternative to its neighboring productions at The Ahmanson Theater that usually sucks up the evening’s festivities. The intimacy brings a lot to the musical’s charm, especially as actors wander the crowd to add dimension to the narrative. It’s a rebellious talking point that fits with the election year talking point that surrounds it. There’s a lot to enjoy about this kick-off and it’s one of those shows deserving of its buzz. With that said, it’s more a show elevated by its acting than its story. So long as the audience can get over its shortcomings, they’ll be up for its rebel heart.
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