American Idiot - Review

Churchill Theatre, Bromley


****


Book by Billie Joe Armstrong and Michael Mayer
Lyrics by Billie Joe Armstrong
Music by Green Day
Directed and choreographed by Racky Plews

Lucas Rush

Green Day's concept punk album explored something that teenagers around the world have been doing forever - questioning societal constructs and their own purpose in life, and feeling as though they are the only person in to experience this existential crisis. But, with a large focus on the post-2001 world, the 2004 release of American Idiot went even further, by ramping up the rage and frustration and channeling this into a highly charged and chaotic collection of thoughts and guitars.

This production, directed and choreographed by Racky Plews, creates a world that is an obvious and direct extension of the original record. How could it be anything else? It is after all written by Billie Joe Armstrong whose influence remains strong throughout. It follows three friends, Johnny, Tunny and Will, who choose to find their own paths in their own ways. Matt Thorpe's Johnny is the epitome of angst, battling his inner demons which are excellently personified by Lucas Rush's St Jimmy who takes full control of the stage each time he appears.

Steve Rushton's Will provides a valuable addition to the house band, picking up a guitar whenever possible, and has a strong voice too, that holds its own against the score - a musical affinity and ease on stage no doubt attributed to his past life as a member of the now defunct Son of Dork. It is this that compensates for the limited development afforded to his character.

Alexis Gerred's Tunny is the more complex and surprising of the three and Gerred delivers a masterful performance. A unique and powerful voice enables him to take full control of his captivating solos and physically, he is comfortable bringing an added intensity to his character.

On the night of this review, Alice Stokoe stepped up in place of Amelia Lily to cover the charmingly titled role of Whatsername. Unrecognisable as an understudy, Stokoe played the part of Johnny's girlfriend, tasked with coping with the rollercoaster that he is on, with unwavering confidence, eliciting both empathy and respect from the audience.

Under Robert Wicks' musical direction, the band makes light work of the frenetic and varied score, and interacts with the characters throughout, which is well-received. Arrangements of Holiday, Boulevard of Broken Dreams and Wake Me Up When September Ends are particular highlights.

The chaos playing out on stage does so against Sara Perks' finely crafted set and the use of a television screen, although unusual at times, works well in providing an additional dimension to the production.

Scene-setting and character exploration is a large part of the first half of the show, but luckily the pace picks up after the intermission, swiftly hurtling towards a finale that pays homage to Green Day's status as one of the biggest bands of its time. Despite all of its drama, it concludes in a way that leaves the audience wanting to pick up a guitar and have its own teenage moment again.

Runs until 2 April, then tours

Reviewed by Bhakti Gajjar

Photo credit: Darren Bell

American Idiot - Review

Arts Theatre, London

****

Book by Billie Joe Armstrong and Michael Mayer

Lyrics by Billie Joe Armstrong

Music by Green Day

Directed and choreographed by Racky Plews

Amelia Lily and Aaron Sidwell

It has been nearly three years since Green Day’s American Idiot played in the capital and Racky Plews’ take on the show, filling the summer slot at London’s relatively bijou Arts Theatre, delivers an energy and sound that is rarely seen in the West End.

The opening television sequence of various cable news snippets throws the audience into the story’s recent historical time, ingeniously drawing them into a single TV set which replaces the more lavish multiple-screen settings, typically found in a larger scale production. Sara Perks’ design work makes effective use of background art around the stage, mimicking a captive glued to the TV set and thus cleverly and appropriately setting the tone for the opening number, American Idiot.

The show's distinctly modern-era story era follows three young men, Johnny, Tunny and Will, struggling to make sense of a seemingly directionless post 9/11 suburban wasteland, filled with nothing but misinformation, mediocrity and vacuous reality. As in nature so in life – vacuums are abhorred – and it is variously drugs, military service and disparate relationships with girls that fill the boys lives.

Of the three, Aaron Sidwell’s Johnny gives a solid lead performance, combining charisma, presence and humour. Steve Rushton as Will and Alexis Gerred’s Tunny manage to define the frustrations, anger and yet also the hope of their generation.

One of this musical’s curiosities is that the show's girls, whilst vital to its plot, are also strangely marginalised in the narrative. The harshly named Whatsername is played by Amelia Lily (she of X-Factor fame and now making a creditable crossover into musical theatre) whilst Raquel Jones is stunning as the show’s Extraordinary Girl.

In what can prove a tough gig seeking to replicate a band, Mark Crossland does a stellar job as musical director. Alex Marschisone [drums], Brock Eddowes [Bass] and Tommaso Varvello [Guitar] combine to produce a sound that offers up a worthy tribute to the original band.

Plews' vision of the show’s staging and dance is inspirational, reflecting a broad, hands-on grasp of modern popular culture. In her programme notes she speaks of having grown up to Green Day’s pop-punk sound and her work not only defines a respect for the music, it also evidences a profound understanding of Billy Joe Armstrong’s nuance. Powerful stuff.

Whether you’re a fan of quality new musical theatre or just love the music and want to experience the songs of a generation, then go. Green Day’s American Idiot is one of the most exciting and invigorating shows in town.

Runs until 27th September