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

Bat Boy: The Musical - Review

Southwark Playhouse, London

***

Music and lyrics by Laurence O'Keefe

Book by Keythe Farley and Brian Flemming

Directed by Luke Fredericks

Rob Compton

Much like the winged mammal of its title, Laurence O’Keefe’s Bat Boy: The Musical is a rarely spotted show. A shortish run off-Broadway in 2001, followed by a 2005 early closing at London’s Shaftesbury Theatre mark its chequered past. Director Luke Fredericks however, garnered critical acclaim last year with a fringe Carousel at Dalston’s Arcola, so it is an intriguing prospect to see how he fares south of the river and taking on this eclectic look at super-sensationalised vampirism in small-town USA.

In a story intended as a comic-book style allegory, Rob Compton plays the Bat Boy, a speechless creature discovered in a West Virginia cave, who is to upturn the lives of local townsfolk. Compton’s performance is well crafted. From a speechless embodiment of his freakish character in the initial few scenes, he develops his capabilities, going on to stretching his bat wings with ease. From vulnerability through to a sheer unaware stupidity, he performs with a conviction matched only by faultless vocals, notably in Let Me Walk Among You and later with Inside Your Heart, a duet sung with Lauren Ward playing a complex mother figure to him as Meredith Parker.

Ward brings much compassion to her role and together with her daughter Shelley played by Georgina Hagen the two women are often the characters that lift the tale out of a rolling stylised humour and into the raw emotions of its ultimate dilemma. There is a strong mother-daughter chemistry between the pair that cleverly builds towards their respective final revelations. 

The cast are all strong, performing with a tongue in cheek pastiche that makes the full company numbers hilarious, a particular treat being the ever excellent Simon Bailey. His performance as faith healer Reverend Hightower, opening act two with A Joyful Noise, sees Bailey dazzle, not only in his gold shoes and yellow suit but with an infectious zany energy that few can match.

The show however remains a curiosity, with Fredericks treading a careful path that aims for deliberate kitschness while trying to avoid the crass. It’s a tough call that doesn’t always work, with the show’s design by Stewart Charlesworth occasionally seeming tacky. A stuffed toy cow’s head complete with intestines in tow, Barbie doll-like puppets abseiling down the set and an over-sized lethal injection syringe, set a tone that occasionally oversteps the mark.

Nonetheless, Bat Boy: The Musical is another example of the vibrancy of London’s Off-West End theatre scene. Mark Crossland’s well arranged five piece band with Joe McKneely’s imaginative choreography all make for a grand night out and if you enjoy wallowing in that guilty pleasure of kitsch Americana, then its unmissable!

Runs until 31st January 2015