Project Description
AMERICAN IDIOT: THE MUSICAL
@ Her Majesty’s Theatre
[24/01/18] (Live Review).
.
.
In regular conversation you would think that the phrases, ‘Green Day’ and ‘Musical Theatre’ wouldn’t go together; when in fact they fit perfectly. Green Day’s American Idiot: The Musical, fights musical theatre stereotypes while showcasing the timeless lyrics of the band’s arguably most iconic album; an album of which shows more urgency and relevancy now than it has before.
After its release in 2004, I was sat on a plane a year later listening to American Idiot on my iPod as a naive 10-year-old, completely unaware of the fact that I was blasting an album which would soon define a generation filled with angst, or as it’s described in the show, the obvious conflict of being stuck between rage and love. I just thought it was cool. But over a decade later, it’s glaringly obvious that American Idiot has resurfaced for a sole purpose; to force audiences to connect the dots and emphasise that we should learn from mistakes, whether political, social, cultural, or personal.
.
.
The plot itself follows the juxtaposed narratives of three friends, Johnny, Tunny and Will, all of whom are desperate to leave their boring lives in Jingletown, for an escape to the big city; only to confronted with their personal demons and consequences of their decision. Johnny, our protagonist also known as ‘Jesus of Suburbia,’ falls in love with girl known as Whatsername and falls even harder into drug addiction, thanks to his new-found alter ego, St Jimmy. Tunny battles with his life’s calling, rebelling against Johnny to join the military seeking his sense of purpose and patriotism, leading to him being wounded and falling in love with his nurse. Meanwhile, Will settles into a life of depression and alcoholism after staying home to support his pregnant girlfriend. Each of these character’s stories intertwine during Give Me Novocaine, showing the pivotal moments of their current lives; Johnny’s drug infused night of passion with Whatshername, Tunny’s injury in the line of duty and Will’s demise into hopelessness.
The album itself, American Idiot, was written in response to life in America during George W. Bush’s presidency as well as confusion and civilian anger following 9/11. The powerful unforgiving lyrics that fill the album express the distaste for government through the stories of displaced youth, culture, and rebellion. It was a taste of American life in 2004, a life of which is still mirrored throughout the world now.
.
.
Before the production explodes onto the stage, various television screens come alight one by one with images of news stories, sex scandals, and of course, President Trump. As the chaos of this content heightens to that of white noise, Johnny appears centre stage ready to disrupt the projections before the band bursts into the opening riffs of title track, American Idiot. The choreography of this piece communicates the ensembles disgust and rage with authority, while showing they’re all stuck in the same life. Immediately following this, the audience are treated to the 9-minute epic that is Jesus of Suburbia, a song of which characterises Johnny and shows how he resonates with every youth. Holiday follows, with the cast trapped within a cage suggesting their fate, with Boulevard of Broken Dreams, then showing Johnny’s early descent into loneliness. Tun
ny’s fate is sealed through Favourite Son and Are We the Waiting? After feeling betrayed by Tunny, Johnny’s alter ego, St. Jimmy appears with his newly discovered drug addiction in tow. The dynamic role of St. Jimmy is split between three rock icons of the Australian music industry; Phil Jamieson of Grinspoon, Adalita, and Sarah McLeod of The Superjesus. For this show and most of the Adelaide run, Phil Jamieson storms the stage during St. Jimmy, with each bit of demonic and anarchic presence you would expect for the terror that is his character. Johnny’s realisation of his love for Whatshername comes in the form of the delicate rendition of When It’s Time, leading the audience to believe he’s leaving St. Jimmy behind.
.
.
Ultimately a standout moment must go to the girls during Letterbomb. Phoebe Panaretos shows her talent and shines as Whatshername in this moment, while the girls of the ensemble serve as her back up in the fight to regain her life from Johnny.
Just like in Give Me Novocaine, Johnny, Tunny, and Will come together again for Wake Me Up When September Ends, admitting defeat to their lives over the past year, and deciding to return home. The group are back to the place they were during the beginning, the abandoned parking lot of a 7/11 store. Unlike any other musical I have seen, Green Day’s American Idiot: The Musical, doesn’t leave the audience with a catharsis or even on a high. It ends with Johnny pondering about his lost love through Whatshername, while leaving us hanging on the open-ended question of ‘Is this end, or just the beginning?’
.
.
American Idiot: The Musical shows us that despite its songs being about life in America in 2004, here we are 14 years of cultural and political upheaval later, still where we started. Have we really learnt from our mistakes?
.
.
AMNPLIFY – DB
[24/01/18] (Live Review)
.
.
.
In regular conversation you would think that the phrases, ‘Green Day’ and ‘Musical Theatre’ wouldn’t go together; when in fact they fit perfectly. Green Day’s American Idiot: The Musical, fights musical theatre stereotypes while showcasing the timeless lyrics of the band’s arguably most iconic album; an album of which shows more urgency and relevancy now than it has before.
After its release in 2004, I was sat on a plane a year later listening to American Idiot on my iPod as a naive 10-year-old, completely unaware of the fact that I was blasting an album which would soon define a generation filled with angst, or as it’s described in the show, the obvious conflict of being stuck between rage and love. I just thought it was cool. But over a decade later, it’s glaringly obvious that American Idiot has resurfaced for a sole purpose; to force audiences to connect the dots and emphasise that we should learn from mistakes, whether political, social, cultural, or personal.
.
.
The plot itself follows the juxtaposed narratives of three friends, Johnny, Tunny and Will, all of whom are desperate to leave their boring lives in Jingletown, for an escape to the big city; only to confronted with their personal demons and consequences of their decision. Johnny, our protagonist also known as ‘Jesus of Suburbia,’ falls in love with girl known as Whatsername and falls even harder into drug addiction, thanks to his new-found alter ego, St Jimmy. Tunny battles with his life’s calling, rebelling against Johnny to join the military seeking his sense of purpose and patriotism, leading to him being wounded and falling in love with his nurse. Meanwhile, Will settles into a life of depression and alcoholism after staying home to support his pregnant girlfriend. Each of these character’s stories intertwine during Give Me Novocaine, showing the pivotal moments of their current lives; Johnny’s drug infused night of passion with Whatshername, Tunny’s injury in the line of duty and Will’s demise into hopelessness.
The album itself, American Idiot, was written in response to life in America during George W. Bush’s presidency as well as confusion and civilian anger following 9/11. The powerful unforgiving lyrics that fill the album express the distaste for government through the stories of displaced youth, culture, and rebellion. It was a taste of American life in 2004, a life of which is still mirrored throughout the world now.
.
.
Before the production explodes onto the stage, various television screens come alight one by one with images of news stories, sex scandals, and of course, President Trump. As the chaos of this content heightens to that of white noise, Johnny appears centre stage ready to disrupt the projections before the band bursts into the opening riffs of title track, American Idiot. The choreography of this piece communicates the ensembles disgust and rage with authority, while showing they’re all stuck in the same life. Immediately following this, the audience are treated to the 9-minute epic that is Jesus of Suburbia, a song of which characterises Johnny and shows how he resonates with every youth. Holiday follows, with the cast trapped within a cage suggesting their fate, with Boulevard of Broken Dreams, then showing Johnny’s early descent into loneliness. Tun
ny’s fate is sealed through Favourite Son and Are We the Waiting? After feeling betrayed by Tunny, Johnny’s alter ego, St. Jimmy appears with his newly discovered drug addiction in tow. The dynamic role of St. Jimmy is split between three rock icons of the Australian music industry; Phil Jamieson of Grinspoon, Adalita, and Sarah McLeod of The Superjesus. For this show and most of the Adelaide run, Phil Jamieson storms the stage during St. Jimmy, with each bit of demonic and anarchic presence you would expect for the terror that is his character. Johnny’s realisation of his love for Whatshername comes in the form of the delicate rendition of When It’s Time, leading the audience to believe he’s leaving St. Jimmy behind.
.
.
Ultimately a standout moment must go to the girls during Letterbomb. Phoebe Panaretos shows her talent and shines as Whatshername in this moment, while the girls of the ensemble serve as her back up in the fight to regain her life from Johnny.
Just like in Give Me Novocaine, Johnny, Tunny, and Will come together again for Wake Me Up When September Ends, admitting defeat to their lives over the past year, and deciding to return home. The group are back to the place they were during the beginning, the abandoned parking lot of a 7/11 store. Unlike any other musical I have seen, Green Day’s American Idiot: The Musical, doesn’t leave the audience with a catharsis or even on a high. It ends with Johnny pondering about his lost love through Whatshername, while leaving us hanging on the open-ended question of ‘Is this end, or just the beginning?’
.
.
American Idiot: The Musical shows us that despite its songs being about life in America in 2004, here we are 14 years of cultural and political upheaval later, still where we started. Have we really learnt from our mistakes?
.
