Review: Tom Morello's Gritty Rebellious Score Drives REVOLUTION(s) at The Goodman

Extremism in the arts is intentionally provocative. It can be used to challenge, protest, and make definitive statements about social injustice within a political system. Artists will use imagery depicting acts of violence to express anger and tell stories that push their audience to a place of discomfort.

Zayd Ayers Dohrn and composer Tom Morello’s new musical Revolution(s) does just that. Revolution(s) tells the parallel stories of a rage filled father and son, Leon and Hampton, who embrace violent extremes of radicalism to protest social injustice. Dohrn’s book is a brutal look at how all-consuming anger leads to violent actions with severe consequences.

Morello’s metal, hip hop and funk score adds a sharp edge to Dohrn’s story of defiant activism. The Rock & Roll Hall of Famer’s evocative orchestrations and aggressive rhythms have a rebellious tone that are distinctly his own.

Dohrn’s protagonists, Leon and Hampton, are a generation removed from one another, but both have experienced and are angered by racism and oppression. Each feels compelled to speak out, including committing acts of violence to ensure they’re heard. Hampton chooses the same defiance that landed his father in jail.

Leon’s other son Ernie is Hampton’s twin. Ernie refuses to succumb to the same violent extremism despite his father and brother’s insistence that he, too, should call out injustice.

Revolution(s) director Steve H. Broadnax III has designed a gritty and raw production. He and casting director Lauren Port pack The Goodman's Owen Theatre diminutive stage with explosive talent and enormous voices in a masterfully crafted and beautifully conceived production.

Tony winning set designer Derek McLane’s industrial backdrop wall of soot-stained weathered industrial windows gives lighting designer Greg Hoffmann and projections designer Rasean Davonté John a palette for their multi-hued rock lighting and projection art. Stephanie Farina and Emily Hayman’s concert-like sound design blends the use of handheld and headset mics for vocals with added ambient sound effects to support Broadnax's bold storytelling. Revolution(s) looks and sounds like both musical theater and a rock concert. It is unfiltered storytelling in a kinetic, high-octane atmosphere.

Principals Aaron James McKenzie (Hampton), Al’Jaleel McGhee (Leon), Jakeim Hart (Ernie), Alysia Velez (Lucia), Jackie Burns (Emma), and the rest of the ensemble dig-in with full throttle vocals. Broadnax elicits uncomfortable realism from his principal actors with bold and brave performances. Credit the collaboration between the actors, director, and intimacy and violence coordinator Greg Geffrard for fully realized convincing portrayals.

Actor Jakeim Hart is a standout as Ernie, the guitar playing twin brother who was taught to play by his father Leon. Both Hart, and Billy Rude as his friend Sean, shred the strings playing Morello’s original composition. Hart’s compelling connection to character, his powerful vocals, and his virtuosic instrumentation create a powerful portrayal of the sibling who is trying to rescue his family from self-implosion.

Dohrn’s violent narrative could easily be ripped from the headlines today. Leon and Hampton are scripted as strong voiced, violent, rebellious activists.

Emma and Leon are unapologetic antiheroes reminiscent of the gun-toting, bank robbing Bonnie and Clyde. Jackie Burns and Al'Jaleel McGhee have smoldering chemistry. They paint their characters with a fiery conviction for battling societal wrongs with violent aggression.

Hampton’s arc seems inspired by that of Coalhouse Walker Jr.’s journey in the musical adaptation of Ragtime, but with one big difference. In a production of Ragtime, the audience returns from intermission invested in the character’s loss. Despite his violent campaign, the audience roots for the antihero because they understand his motivations and empathize with his losses.

The difference here is that Dohrn’s script doesn’t assign his protagonists an empathy inducing event. Instead, Dohrn pommels the audience with volatility without introducing personal injustices that connects the audience to the characters. The father and son rage against the system, leaving the audience as outside observers versus feeling an empathic connection stemming from a specific transgression that caused a personal inequity.

Revolution(s) is a well-designed, fast-paced, and adrenaline-fueled production with outstanding music. Fans of Tom Morello will love his frenetic and hard-hitting score. Director Steve Broadnax fills his production with believable performances and riveting vocals from an immensely talented cast. Zayn Ayers Dohrn’s book doesn't connect the audience to his character’s motivations, but his narrative has a definitive and unmistakable message - do whatever it takes to raise your voice against racism and injustice.

Revolution(s) in the Owen Theatre at The Goodman has been extended through November 16, 2025. For more information visit goodmantheatre.org or click the link below to purchase tickets.