Goldstar

• Rated 4.0
• Written on Nov 09 2009

American Idiot is a must-see. This is an exceptionally well-produced show: excellent performances (acting, singing and dancing), direction, choreography and set and lighting design (including videography). Truly, this is a Broadway-level cast and production: they uniformly sing and dance well. Also solid was the musical accompaniment, although for my taste (which would not be shared by everyone), I prefer the sound to be balanced a little more on the side of the voices and less on the side of the music (I was not able to understand all the words - which I think are important for this show). I appreciate that true rockers would disagree with my expectation of more balance on the side of voice, but I am more of a theater type than a rock type.

Do not go in expecting a traditional book musical. The show is more of a collection of Green Day music with fantastic staging that suggests a story of three young adult males and their adventures in suburbia and the big city; but the songs and music do not exactly serve or further the plot; rather, the songs and music create a mood that is supported by the direction and choreography. And the mood is one of youthful energy, hope and insecurities and disillusionment. I listed energy first, because American Idiot is first and foremost energetic.

From the very beginning, the show radiates energy. The cast (particularly the male lead) throw themselves (often literally) into the opening number. The choreographed movements of the first number suggest adolescent angst, anger (petulance) and innocence mixed with hopeful expectation and establish the energy and force for the shows subsequent action and plot. From the very first leap onto a bed and subsequent destruction of personal property, you know that this is the story of angry, impetuous (and irresponsible) youth. At the conclusion the opening number I had to fight the impulse to scream "oh yeah" because it was truly exciting and because the description of a society of lethargic idiots glued to mass media really rings true, as does the adolescent response to an imperfect world.

American Idiot had superior and energizing choreography throughout; and the effectively projected the emotional state of the show’s youthful characters. In the hands of a lesser choreographer and director, some of the dances could seem gimmicky or Vegas-like: let’s face it, flying and floating characters could be a gimmick and a distraction, but in the hand of the director and choreographer, it was heartfelt and telling.

Other than the sound balance issue (discussed above), my only quibble with the show is that, for me, it represents more of a fantasy than a reality. I think the show positions itself as purporting to tell the hard-edged truth of our world and of the adolescent response to that truth; but what it really explores is adolescent fears and fantasies and not the realities. We all know the youthful fantasies: “What will happen to me if I run off to the big city?”, “What will happen to me if I go to the military?”, “What will happen to me if I have to work?” “What will happen to me if I just stay at home and do nothing?” “What will happen to me if I fall into the drug culture?” “What will happen to me if I meat a really hot young woman in really sexy pink and purple underwear?”). What American Idiot does not focus on is what specifically is driving the individual characters or what they really want, so it comes off a little generic. The show settled for putting the characters in their fantasies and watches the fantasies play out. And, as the characters (and the audience) explore these fantasies (i.e., possible life-routes), nothing goes too wrong (no one dies or gets too hurt) and the possibility of giving up youthful fantasies and returning home always exists. (BTW, are the show’s creators trying to tell my generation that we will never get rid of the kids?) What I’m getting at, is that, at the show’s core, we are experiencing archetypes rather than individuals. Ultimately, the show is about images and not really about the truth of individual characters; and, therefore, the show is not able to present the hard-edged truth of growing up in America. But what of it? The excellent performances combined with the music, direction and choreography create a mood that feels real. Because I felt that nothing went too wrong for the characters, I wasn’t as moved by the ending as some of the audience. However, my wife was almost crying near the end; so I do want to acknowledge that my emotional response to the end may not be typical.

Do not let my analysis of the fantasy versus reality aspect of the show sound like I did not love American Idiot, I did. What’s not to love: excellent production values, strong cast, choreography that really brings the inner state of the characters to the stage, intriguing music and lyrics, top notch cast and tons of energy? And let’s not forget the design team. I think that a big shout-out to the design team is warranted. Fist of all, the Roda stage at the Berkeley Rep is tall; and the designers use every inch of that height. The lighting is beautiful throughout, creating many moods (including many fascinating and sometimes emotionally-moving effects projected onto the rear of the set) and always allowed us to really see the cast (with effective lighting at each level of the multi-level set, and often with projecting different moods at different levels at the same time). The set effectively suggests both suburbia and the big bad city and includes exterior staircases that run the height of the stage, windows that appear and disappear, a multitude of video monitors and television sets of all sizes that populate and shape and reflect the world of American Idiot; and, of course, what adolescent home and apartment would be complete without a dumpy mattress or a beaten up couch – and lots of beer bottles. The set and lighting worked well with the videography which was always relevant and often fascinating. The combination of all the design elements creates an almost epic feel to the show, and really justifies the implicit claim that the show speaks toward the American youth experience.

Finally, this show is performed without intermission; so if you’ve got a weak bladder, get there a little early, do your business, and get in your seat. Make sure that you are not late; because you do not want to miss a minute of this excellent show.

By the way, I have not written a review before, so I am open to hearing comments about what I should do differently for future reviews.

• Rated 4.0
• Written on Nov 09 2009

High energy! Should win award for innovative staging. Well worth your time and money!

• Rated 4.0
• Written on Nov 09 2009

A must-see! Practically all the main leads have performed on Bway - incl John Gallagher Jr who was Moritz on Spring Awakening & won a Tony. Awesome voices & music. Everything about the show spoke quality; this has to end up on Bway in NY. Congrats on your future nods for Tony nominations!

I'm a Bway-SF subscriber & am now considering Berkeley Rep. Had no idea that they put on these quality-level shows.