Review: GREEN DAY’S AMERICAN IDIOT ROCKS THE STRAZ CENTER at JOBSITE THEATER

“The end of the world is over...”

Green Day’s American Idiot is a rock musical, mostly sung through, in a blistering 90 minutes. It ran its first inception at Berkley Rep in 2009, before transferring to the St. James Theatre on Broadway. Beginning previews in March of 2010, before having its offical opening date of April 20,2010.  The show played 422 performances before closing April 24, 2011.

The musical based on the concept album by Green Day’s Billy Joe Armstrong, featuring a book by Armstrong and Michael Mayer, centers its plot around Johnny, Tunny, and Will. The trio of disaffected young men search for their meaning of life, while trying to escape the stifling life of suburbia and parental restrictions. Johnny and Tunny make it out, while Will stays behind and deals with his own disavowed morals and the relationship with his pregnant girlfriend Heather. Johnny discovers drugs and the escapism it brings while navigating life, love, relationships, and loss. Tunny flees and joins the military, only to be injured in battle and return back to suburbia, and the life he vowed to flee.

Music was composed by Green Day and lyrics were written by Armstrong. Songs comprised of the entire American Idiot album as well as other songs interwoven from 21st Century Breakdown, and “When its Time,” a single originally made for release in Britain. Among its accolades the musical won two Tony Awards for Scenic Design and Lighting Design, was honored as a nominee for Best Musical, and went on to win Best Musical Show Album at the Grammy’s.

Jobsite Theater, resident Theatre company of the David A. Straz Center in Tampa, FL, has mounted an exquisite production. Running through August 9th, with no opportunity to extend, the electrifying musical is so thrilling, so tight-knit, you almost never want it to end. The dark storyline of the inhabitants of this makeshift suburbia are so grounded, and so interwoven of not only the worldview of the story, but so intertwined in our current climate as well. Making this a jaw dropping, hard hitting expose on life at the break of the millenium and some 20+ odd years thereafter.

I have been a huge Green Day for as long as I can remember. Rocking out to their music from my first discovery, to imitating their performances with my friends, dreaming one day we could be just like them. Sure their early works were incredible, and groundbreaking. So much so, that nearly 30 years following its release we will soon be getting a movie based soley on the Nimrods era of the Zietgeist movement. The latter release of which American Idiot is based is a commentary concept album of the state of the world in response to not only the George Bush era, but the state of the world post 911, and all the disillusionment, and almost displaced feeling we felt in the aftermath of such a devastating act of violence.

“Do you know what’s worth fighting for, When it’s not worth dying for? Does it take your breath away, and you feel yourself suffocatin’? Does the pain weigh out the pride, And you look for a place to hide? Did someone break your heart inside, your in ruins...” (21 Century Breakdown, “21 Guns”)

After numerous viewings of this subliminal mind f**k of a musical, that spawns a new iteration every few years, one question remains. How does the landscape of the punk era, the no h0lds barred, anything is possible way of life, transfer kinetically and metaphorically to the stage? How does one grasp all the innerworkings of this subliminal movement, and cohesively make sense to some who either remember its glory days, or chose to stay hidden from its metaphorical take-over?

One thing is for sure American Idiot and all things in its genre are unapologetically authentic, and that is what makes even the sharpest, most blazing fast production work, especially in our modern worldview.

Jobsite increasingly pushes the envelope and its summer productions continue to do just that, highlighting productions of past Puffs, and The Rocky Horror Show. In a financial climate such as this, where even the state of some Broadway shows hang on the precipice,   how do Regional Theatres put butts in seats, and continually strive and take risks, knowing it could be a reward or the opposite? You find an Artistic team who knowingly take the reigns,  push for greatness, and assemble one of the strongest young casts to date, to present a somewhat risky, but surefire hit. Couple it with a live band, and explosive choreography, and unique immersive staging, and you can plainly see why the tickets will soon be hard to come by.

The plot itself runs dry, and often times just reading it doesn’t do the work justice. However, witnessing the explosive nature of the show, and especially this production, breathes new life to an otherwise lacking narrative. Its like stepping foot into Hot Topic for the first time, and deciding to go to your local Alternative shop and requesting Liberty Spikes. The era of studded belts, crop tops, leather, and denim, patches adorning clothing, and middle fingers in the air for all to see. Its that no holds barred feeling, the embracing of who you are, and f**k all to what anyone else thinks. Even those not so keen on the punk era/lifestyle, or those wading the unfamiliar waters of Green Day music will have the “....Time of their life.”

Jobsite core, director David Jenkins, and Choreographer Alexander Jones have assembled a top notch ensemble of performers, that could very well be their best ensemble to date.

Cody Farkas leads the company as Johnny, and having personally Directed him in the past, I’m left completely speechless. His true star-making moment is grounded in every aspect of his performance as Johnny. Full believeable, realized, grounded, and brooding at every turn, and his top notch stage presence is a marvel. His vocals lend well to the role, but his commitment to excellence in every moment will leave you breathless. The amount of growth I have come to see from this performer in recent years, proves that the sky knows no limits, and he is well on his way to becoming one of the strongest young performers of our area, Directors take notice, he is one that should be on everyone’s list.

Spencer Meyers’ turn as St. Jimmy is dastardly good, proving punk rock is right in his pocket. He’s sinister at best and his vocals are top notch.

Matthew Morris makes an exciting turn and debut on the Jobsite stage as Tunny. Embracing his true nature, as he is a rock musician when not in Theatre, Matthew is magnificent, and haunting at every turn. His “21 Guns,” is something of a masterclass, but its his commitment to the rock lifestyle that truly drives it home.

Jaryn McCann is wonderful as Will, the slacker with the knocked-up girlfriend. He brings to life an almost lifeless character. He spends a majority of the show smoking a bong, sitting on the couch, playing video games, while the world seems to revolve around him, and he goes day by day without noticing. Its like a stoner’s “Groundhog Day,” until reality hits, and then your left to question what the hell happened. Sharing the stage and most moments with Will’s pregnant girlfriend Heather, exceptionally realized by Noa Friedman, her moments with Will are heartbreaking and all too real.

Kiara Dorothea and Mariela Zeno are explosive as Whatsername and Extraordinary Girl respectively. Mariela is top-notch here in her performance, and stands out in several musical moments. Having seen her in several different performances this character, this persona is on another level, and jolted with the upmost electricity.

The Ensemble involves the audience in every aspect of their performance, making each seat in the house fully involved in the action. Including EV Fredrick, Katie Huettel, Kayley Jewel (The truly most avant-garde, and punk-afficiando of the company), Mandi Rotolo, Troy Ochoa-Rowland (in his most grounded, and exquisite performance to date), Alex Rodriguez, and Kayla Witoshynsky. Jacqueline St. Pierre plays a numerous amount of roles, and is the grungiest standout of them all, fully committed in every turn.

All the Green Day anthems of some 20+ years are laced throughout, and given what is seemingly the best treatment of the source material thus far. Music Director Jeremy Douglass leads a band that is tight as a whip from the first drum kick, and Mr. Douglass gets the most of the performers vocally.

Chris Giuffre’s set is awe inducing, and the evocative lighting by the incredible Jo Averill- Snell pulls everything in together. The video wall in partnership with Molecular Media is pis-de-resistance for the world of the show, and helps set the tone for the evening. Some mic issues, and unwanted crunching made for some interesting sound moments throughout the night, but otherwise Sound was well executed amidst the chaos.

Director David Jenkins and Choreographer Alexander Jones fully immerse the audience in the world of these characters, and pull out all the stops here. Moving like one giant rocking amoeba, you almost go in a head spin trying to take it all in. That in and of itself makes this musical so fun to watch, and your heart and toes are beating as one, in this true tour-de-force. The tight-knit choreography and the unique staging, coupled with using almost every inch of the mammoth playing space is truly a marvel to uphold.

American Idiot, like many rock musicals, can often be seen as falling into a trope of yesteryear, and about events of the past, that may have one time provided exceedingly searing commentary. What sets this musical apart from those, is the fact that not only does it harken to events of 20+ years ago, but it in turn provides a mirror image into our currently political/economic climate in which the world is currently revolving. As bystanders in a world in which we cannot control, when our backs are against the wall, and we feel as if there is no place to turn, how do we shed light on an otherwise bleak perspective? We choose to embrace the unknown, walk the lonely road, and for lack of better judgement, count the minutes and the hours until the end of yet another month, and cling to the hope of a better tomorrow.

Jobsite Theater and its company of performers, brings us hope for a better tomorrow, where maybe, just one day a new breed of American Idiots will assume their position in line, and for once we can see the light at the end of the proverbial tunnel. Until then, we try to embrace change, embrace new meaning, and make our way through the day to day.

Its “something unpredictable, but in the end is right...” and Jobsite may just have the workings of the best damn musical they have ever produced, and its times like these, shows like these that make me thankful, that we can all collectively gather and celebrate life in a unified front amidst the chaos. Merde! Merde, indeed. Tickets available by visiting www.jobsitetheater.org.

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