Review: REVOLUTION(S) at Goodman Theatre
The world premiere musical runs through November 9, 2025 in the Owen Theatre
The world premiere musical REVOLUTION(S) at Goodman Theatre is provocative and timely. With direction by Steve H. Broadnax III, book by Zayd Ayers Dohrn and music and lyrics by Tom Morello (with a host of lyrics by other artists) — of Rage Against the Machine and Audioslave fame — this is a show that draws on rock musical traditions. As a musical theater fan for whom RENT was a critical introduction to the art form, I see a lot of that same youthful, rebellious energy in REVOLUTION(S) — but this material is more radical and violent. Fans of shows like RENT and AMERICAN IDIOT will find much that’s intriguing here. Likewise, I think the musical is highly interesting, engaging, and genuinely provocative — even if it doesn’t always cohere.
REVOLUTION(S) (and that parenthetical “s” is part of the narrative) centers on Hampton, who returns to Chicago after three years serving in the army (and we soon learn his army leave may not be on the up and up). The musical follows Hampton (Aaron James McKenzie), his twin brother Ernie (Jakeim Hart), Ernie’s Best Friend Sean (Billy Rude), and Hampton’s love interest Lucia (Alysia Velez), an undocumented immigrant and a college drop-out as they navigate what seems like an occupied 2016 Chicago (the timing of that particular setting is eerie and prescient). The show mirrors this arc with that of Hampton and Ernie’s parents Emma (Jackie Burns) and Leon (Al’Jaleel McGhee), who decide to take on an unconventional method of reparations on a dual timeline in 1989. The show deals with the radical behaviors of Leon, Emma, and their children, and it probes questions of the most effective forms of resistance. Should violence beget violence? What does an “eye for an eye” look like when it comes to manners of equity and combatting racial injustice? And who ultimately pays the price for acts of resistance? I appreciated the moral complexity of Dohrn’s book as it doesn’t provide easy answers.
Morello’s songs (with several other songwriters credited) easily fit into Dohrn’s narrative. This is technically a jukebox musical. But unlike other jukebox shows I’ve seen, all the songs were new to me. Morello’s back catalog has a specific energy and lyrical aesthetic that fits the show and characters well. That said, I found some of the lyrics almost impossible to discern on first listen. It’s obviously critical that lyrics be understood as part of the musical storytelling. While Rasean Davonté Johnson’s projections cleverly showcased some lyric snippets, I think full-on closed captioning of the lyrics at all performances would be immensely helpful. Aesthetically, Morello’s music fits the show’s style — but I think some of the lyrics were also swallowed up by the band.
Visually, I really enjoyed this show. And again the RENT aesthetic feels really apparent in Derek McLane’s open warehouse set, full of metal and clean lines.
While some of the lyrics were hard to make out, this is a strong cast of singers. Burns has a really classic musical theater voice, but it was incredible to see her tap into different dimensions of it as Emma. McGhee has one of the most unique voices I’ve heard — he deploys an intense rasp for many of his vocal moments as Leon; though his rasp seems to turn on and off depending on the song. It was a compelling vocal choice, and the raspiness of his voice fits his character’s arc nicely. McKenzie is an intriguing frontman as Hampton — he has a crisp and powerful singing voice and an affable presence, even if some of his character’s decisions are questionable. And while I thought the narrative angle of Hampton’s PTSD was underbaked, McKenzie plays that aspect well. Hart has a clear and pleasant singing voice for Ernie; he provides a gentle foil to Hampton without appearing like a pushover. Velez likewise has a really compelling rock singing voice. Michael Earvin Martin is also charming as Leon’s brother Sunny. Haley Gustafson, Christopher Kelley, Eric A. Lewis, Jarais Musgrove, AJ Paramo, and Kendal Marie Wilson round out the cast.
REVOLUTION(S) is truly unlike any other show I’ve seen at the Goodman. While I think the material still has some rough edges, that’s fitting of the subject matter. The themes introduced here aren’t neat and tidy, so the material shouldn’t be, either. This musical has a pulsing, urgent energy that is extremely well-matched by Morello’s music and lyrics.
REVOLUTION(S) plays the Owen Theatre at Goodman Theatre, 170 North Dearborn, through November 9. Tickets are $34 - $104.
Photo Credit: Brett Beiner
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