Review: AMERICAN IDIOT at Cultural Arts Playhouse-SYOSSET

A musical that resonates with, especially young, Long Islanders is Green Day’s “American Idiot,” with the overtones of disillusionment of what is supposed to be idyllic suburban life amidst the backdrop of a disconcerting political atmosphere.

Cultural Arts Playhouse in Syosset recently opened “American Idiot,” and this version, directed by Domenick Napoli (who directed the rock opera “School of Rock” last season), captures all the youthful angst fueling the destructive and life-changing decisions made by the characters as they find their way back from "The Boulevard of Broken Dreams."

Choreographer Yesenia Morales was the stand-out of the entire production with a seemingly constant flow of full ensemble dance numbers that were super-charged with heavy metal mosh pit energy. The fluidity and poetry of the choreography in “21 Guns” made the song a solemn soliloquy with over a dozen bodies acting as one and punctuating each metaphorical shot.

Zane Daniel Walden as Johnny embodied the Billie Joe Armstrong surrogate character, especially with the soft, ponderous, but emphatic guitar playing. Walden’s voice and presence ranged from curious and exploratory underneath the bright lights of the city to the battered, visceral drug addict whose poison is so abundant that it slips out of his veins instead of into them.

Sean Ryan as Will could have been in the movie “Clerks” with his perfect portrayal of a 90s slacker, complete with a beloved couch. Ryan’s portion of the “Jesus of Surburia” sequence was textured and delightful.

Joey Colavolpe as Tunny, who had perhaps the most dramatic of storylines between the three main characters, held his 100-yard soldier’s stare beautifully and tragically, especially in the scenes where he is in the battlefield hospital.

Domenick Napoli as St. Jimmy was chaotically devilish and had the feverish spirit and influence of a dark angel with his pointed affectations and menacing visage. In a scene where his character has a gun to his head and it explodes with a banner saying “Bang!” Napoli sheer disregard for the events surrounding him were evocative of the Joker and profound.

Nicole Gonzalez as Whatshername, the love interest of Walden’s Johnny, blared that signature volume her performances have been characterized by. Belting out the biggest numbers of the musical, Gonzalez shone with raspiness (and even some growls) for the character that never subdued the clarity and power of her natural voice. In the balcony scene where she first meets Johnny, Gonzalez gives a Tinkerbell look of interest that could have been a blissful eternity all on its own.

Samantha Naso as Extraordinary Girl symbolized the dedicated care of nurses to soldiers with her affectionate and loving interpretation of the character. The chemistry she had with Colavolpe’s Tunny was an anchoring pairing as she exhibited hope after martyrdom.

Hanna Pipa as Heather was the most adult of the characters as a young mom battling a juvenile father and her gait, facial expressions, and quiet acceptance of circumstances with grace but sadness. Pipa’s bold voice in “Last Night on Earth” was enchanting and once again emblematic of the adult struggles her character handles.

Tickets are on sale for performances on Friday, September 25 through Sunday, October 18.

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