American Idiot, Auckland NZ, 2019

American Idiot

10th – 20th October 2019
The Civic, Auckland, New Zealand.

Review by Sarah Kidd. Promotional photography supplied.

Ten years on from its inaugural performance, rock musical American Idiot finally made its sensational New Zealand debut last night.

Both based on and featuring music from the seminal Green Day concept album of the same name as well as tracks from their 2009 record entitled 21st Century Breakdown, American Idiot centres around a trio of boyhood friends who are all just trying to find meaning and worth in a country that post 9/11 is spoon feeding its population media propaganda when it’s not busy tearing itself apart.

Greeted by a television hanging by chains in the middle of the stage, the audience are first introduced to Johnny (Tom Milner), Tunny (Joshua Dowen) and Will (Samuel Pope) as they flick through the channels, images of the crumbling World Trade Centre interspersed with those of President Bush. Lamenting the messages of paranoia, the stage explodes into life as the performers smash out the song ‘American Idiot’ quickly followed by a ‘Jesus of Suburbia’ medley.

Unlike the standard fair of most musicals New Zealand has seen previously, there is very little dialogue during the first act, the music instead doing the talking as it swirls around the stage like a hurricane. With the set split into three sections it provides an unending plethora of things to watch, from the kickass live band in the top left hand corner – and how nice it is that the musicians are not only visible but actually interact with parts of the story itself – to the main stage floor which is segregated at times using movable wire fences and incredibly clever lighting design.

While the first act certainly provides a visual and aural feast, the lack of dialogue can also pose an issue for those not used to attending a theatre production; the characters needing to be watched carefully as their individual stories unfold for one to keep pace with what is happening. As three young men whose only interests are getting high, girls and escaping the doldrums of their small-town home, Johnny, Tunny and Will are boisterous, the supporting cast moving around them just as raucous. This high energy certainly captures the essence of what it is to be youthful, the burning hunger to both escape and discover new experiences palpable; however, the continual references and slapstick humour around their own crotches is at times overdone and detracts from the production itself.

Heavy topics are confronted with ferocity, the trios plan to escape to the big city initially thwarted by Will’s girlfriend Heathers (Siobhan O’Driscoll) pregnancy announcement and his decision to stay and see it out. Down to two, Tunny soon leaves Johnny for the military once they reach their destination after being seduced by the illusion of aspiring to be America’s favourite son, the reality resulting in him instead ending up in hospital with half his leg blown off. Left to his own devices, Johnny’s alter ego St. Jimmy soon comes out to play, leading him down a path of drugs and self-destruction. It’s a first act that leaves the viewer breathless and almost a little shell-shocked by the sheer chaotic intensity.

But it is the second act that truly draws everything together, the pace slowed to almost a complete standstill at some points which allows for the emotive nature of key scenes to permeate the air. The show closing with the entire cast each donning a guitar for a rousing rendition of ‘Good Riddance (Time of Your Life)’ which the audience wholeheartedly join in on.

As Johnny, Tom Milner is electrifying, his acting on point throughout, his singing reminiscent of Billy Joe Armstrong himself without ever tumbling into imitation territory. In his professional theatre debut as St. Jimmy, Luke Friend purloins almost every scene, even when doing nothing but watching Johnny from behind the fence; outlined in red, a smirk tugging at the corner of his mouth, his menacing presence can be felt from afar.

Both Pope and Dowen provide strong supporting roles, Dowen in particular displaying great physicality, especially during the second act number of ‘Extraordinary Girl’. Playing the part of Whatsername, Johnny’s love interest, Sam Laverys’ vocals are right up there with Milners’; it’s just a shame a little more dialogue wasn’t written into their scenes to really solidify the bond in their relationship; Milner’s rendition of ‘When It’s Time’ sung to a sleeping Lavery bittersweet.

But by far, the musical number of ‘Wake Me Up When September Ends’ is the overall jewel in the crown of American Idiot; cutting through the egos and boyish vulgarity of the three protagonists, it provides a poignant moment that is beautifully executed and justifiably received extended applause from the audience.

Yes American Idiot is quite unlike anything else, however fans of The Who’s Tommy, Pink Floyd’s The Wall, and anyone who at any point in their lives has raged against a society ruled by fear-mongering media, corrupt politicians and the banality of white picket fence suburbia will find the rock musical like a shot of adrenaline, with a decidedly present day relevance aftertaste.

Were you there at The Civic for this brilliant Green Day penned extravaganza? Or have you seen American Idiot performed live somewhere else? Tell us about it in the comments below!

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