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    HOLLYWOOD REPORTER
    January 08, 2011

    'American Idiot' Theater Review: Billie Joe Armstrong Electrifies an Already Exhilarating Musical

    Pay attention, Bono. Billie Joe Armstrong
    is presenting a kickass case that popular music and Broadway can make
    beautiful bedfellows. And hey look, Julie Taymor, there's also a
    mesmerizing flying sequence in which nobody gets hurt!

    Parallels to the eternally evolving Spider-Man: Turn Off the Dark aside, American Idiot
    is an exemplary lesson in full-throttle commitment from a major rock
    star stepping into the uncustomary arena of musical theater.

    Throughout the show's development and from its tryout at Berkeley Rep
    through its Broadway opening last April, Armstrong and Green Day
    bandmates Mike Dirnt and Tre Cool have
    been hands-on creative forces with the emotionally hyper-kinetic
    pop-punk opera adapted from their 2004 album. After a sellout
    single-week engagement in September, Armstrong, who wrote the lyrics
    and co-authored the book with director Michael Mayer, is now back for 50
    performances as St. Jimmy, the malevolent Pied Piper of hallucinogens.

    As an antidote to the post-holiday winter box-office doldrums for a
    10-month-old show, it's a brilliant strategy. But it's also great
    theater, adding new peaks to an exhilarating theatrical experience that
    ravishes the senses with wave upon wave of raw energy.

    That Armstrong is so physically wired into the music is no surprise.
    What's more notable about his performance is the keen balance required
    to deliver a star turn that also folds seamlessly into the ensemble.

    Pushing 40 but looking forever like the surly kid who stole Mom's
    kohl pencil and hair dye, Armstrong makes Jimmy a playful but petulant
    angel of destruction. He supplies the candy that accelerates the
    journey to rock bottom of Johnny, the nihilistic suburban escapee
    played with galvanizing conviction by John Gallagher Jr.

    As Gallagher ushers on the character with the introductory bars of
    "St. Jimmy," audience anticipation swells to a roar that returns
    whenever Armstrong enters or exits. The sneer he can wrap around a
    simple word like "so" is evidence enough alone as to why the guy's a
    rock star.

    But there's also an unexpected vulnerability to his characterization
    that distinguishes it from that of his more demonic predecessor in the
    role, Tony Vincent. When Armstrong banishes the tenderness of Johnny's
    love song for his girlfriend, Whatsername (the knockout Rebecca Naomi
    Jones), by blasting "Know Your Enemy," there's a quiet note of panic in
    his machinations, as if he knows his hold on Johnny can't last.

    Beyond Armstrong and appealing newcomer Jeanna de Waal, the long-haul
    cast members continue to give 100 percent and the production's
    stagecraft remains dazzling.

    On repeated listens, the multitextured orchestrations by "Next to
    Normal" composer Tom Kitt reveal ever-greater complexity in their
    ability to theatricalize the songs -- at times rendering them more
    intimate, at others pumping them up into full-throated shouts --
    without betraying their original essence. His use of strings, via
    musicians sawing away high up on designer Christine Jones' scaffold
    tower, is especially gorgeous.

     

    Kitt's work serves as a wakeup call to anyone who ever failed to notice
    that for a scrappy pop-punk band, Green Day are unashamed advocates of
    melody.

     

    Steven Hoggett's choreography also retains its ability to surprise.
    Convulsive movement is interspersed with mime and jerky ballet, all of
    it unmistakably channeling the youthful feelings -- of elation, but
    more often of rage and despair, fear and longing -- that are the heart
    of the show.

     

    That iron-clad thematic cohesion is the hallmark of Mayer's muscular
    direction, which goes one better than his innovative work on "Spring
    Awakening."

     

    Whether the cast is engaged in anthems of celebration or scorn, in
    ballads of love or pain or songs of bitter reckoning, the material
    connects in such a way as to reawaken the rebellious spirit and freshen
    the ache of lost innocence in all of us. Seeing "American Idiot"
    again, the conviction deepens that this thrilling musical was robbed at
    the Tonys.

    [Full article at Hollywood Reporter]

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Brian's picture
on January 08, 2011

'American Idiot' Theater Review: Billie Joe Armstrong Electrifies an Already Exhilarating Musical

Pay attention, Bono. Billie Joe Armstrong
is presenting a kickass case that popular music and Broadway can make
beautiful bedfellows. And hey look, Julie Taymor, there's also a
mesmerizing flying sequence in which nobody gets hurt!

Parallels to the eternally evolving Spider-Man: Turn Off the Dark aside, American Idiot
is an exemplary lesson in full-throttle commitment from a major rock
star stepping into the uncustomary arena of musical theater.

Throughout the show's development and from its tryout at Berkeley Rep
through its Broadway opening last April, Armstrong and Green Day
bandmates Mike Dirnt and Tre Cool have
been hands-on creative forces with the emotionally hyper-kinetic
pop-punk opera adapted from their 2004 album. After a sellout
single-week engagement in September, Armstrong, who wrote the lyrics
and co-authored the book with director Michael Mayer, is now back for 50
performances as St. Jimmy, the malevolent Pied Piper of hallucinogens.

As an antidote to the post-holiday winter box-office doldrums for a
10-month-old show, it's a brilliant strategy. But it's also great
theater, adding new peaks to an exhilarating theatrical experience that
ravishes the senses with wave upon wave of raw energy.

That Armstrong is so physically wired into the music is no surprise.
What's more notable about his performance is the keen balance required
to deliver a star turn that also folds seamlessly into the ensemble.

Pushing 40 but looking forever like the surly kid who stole Mom's
kohl pencil and hair dye, Armstrong makes Jimmy a playful but petulant
angel of destruction. He supplies the candy that accelerates the
journey to rock bottom of Johnny, the nihilistic suburban escapee
played with galvanizing conviction by John Gallagher Jr.

As Gallagher ushers on the character with the introductory bars of
"St. Jimmy," audience anticipation swells to a roar that returns
whenever Armstrong enters or exits. The sneer he can wrap around a
simple word like "so" is evidence enough alone as to why the guy's a
rock star.

But there's also an unexpected vulnerability to his characterization
that distinguishes it from that of his more demonic predecessor in the
role, Tony Vincent. When Armstrong banishes the tenderness of Johnny's
love song for his girlfriend, Whatsername (the knockout Rebecca Naomi
Jones), by blasting "Know Your Enemy," there's a quiet note of panic in
his machinations, as if he knows his hold on Johnny can't last.

Beyond Armstrong and appealing newcomer Jeanna de Waal, the long-haul
cast members continue to give 100 percent and the production's
stagecraft remains dazzling.

On repeated listens, the multitextured orchestrations by "Next to
Normal" composer Tom Kitt reveal ever-greater complexity in their
ability to theatricalize the songs -- at times rendering them more
intimate, at others pumping them up into full-throated shouts --
without betraying their original essence. His use of strings, via
musicians sawing away high up on designer Christine Jones' scaffold
tower, is especially gorgeous.

 

Kitt's work serves as a wakeup call to anyone who ever failed to notice
that for a scrappy pop-punk band, Green Day are unashamed advocates of
melody.

 

Steven Hoggett's choreography also retains its ability to surprise.
Convulsive movement is interspersed with mime and jerky ballet, all of
it unmistakably channeling the youthful feelings -- of elation, but
more often of rage and despair, fear and longing -- that are the heart
of the show.

 

That iron-clad thematic cohesion is the hallmark of Mayer's muscular
direction, which goes one better than his innovative work on "Spring
Awakening."

 

Whether the cast is engaged in anthems of celebration or scorn, in
ballads of love or pain or songs of bitter reckoning, the material
connects in such a way as to reawaken the rebellious spirit and freshen
the ache of lost innocence in all of us. Seeing "American Idiot"
again, the conviction deepens that this thrilling musical was robbed at
the Tonys.

[Full article at Hollywood Reporter]