AMERICAN IDIOT

Feb 20, 2024

THE BASICS: AMERICAN IDIOT, a sung-through rock musical based on the concept album of the same name by Green Day, with a book by Billie Joe Armstrong and Michael Mayer, directed by Nicolette Navarro, starring Aaron Saldana who plays “Johnny,” Quinn McGillion who plays “Tunny,” Ryan Norton who plays “Will,” produced by Bellissima Productions, runs until August 13th, Thursdays through Saturdays at 7:30, Sundays at 3, at the Lorna C. Hill Theatre at 429 Plymouth Ave Suite #2, Buffalo, NY 14213. Tickets at eventbrite.com are $20 for students/industry and $30 at the door.

RUNNING TIME: 2 hours with a 15-minute intermission.

THUMBNAIL SKETCH: A longing for a new start is ruined by three young men prone to self-sabotage. Johnny (Aaron Saldana), the leader of the group, announces his dissatisfaction with what has become a boring life in the suburbs and uses borrowed money from his mother to get the next bus ticket to the city. Tunny (Quinn McGillion) joins along, leaving Will (Ryan Norton) on the couch with his neglected pregnant girlfriend Heather (Maryna Seufert). With the help of drugs, Johnny feels confident enough to approach a mysteriously seductive Whatsername (Timiyah Love). Meanwhile. Tunny spends his time at home watching television, where he stumbles upon an army advertisement featuring an American Soldier called “Favorite Son” (Jeremy Catania). He joins the army, convinced that he could mirror the American icon. Unfortunately, he is injured in war and loses his leg. Johnny becomes increasingly addicted to drugs as does his erratic behavior. He declares to Whatsername that he chooses drugs over her. She leaves him behind, concluding that he will never change his self-destructive ways. Will’s girlfriend also leaves him for a similar reason of feeling unprioritized as she cares for their child alone. The trio is back where they started, alone, emotionally numb, and hopeless. Johnny makes a short-lived attempt at a career but ultimately decides that he will never belong in the city. They coincidentally find themselves at the 7-11 together and ultimately accept that there is hope for happiness within the desire for reconciliation and acceptance.

Starring Aaron Saldana (Johnny), Quinn McGillion (Tunny), Ryan Norton (Will), Timiyah Love (Whatsername), Jeremy Catania (Extraordinary Girl/Favorite Son), Maryna Seufert (Heather), Sam Crystal (Alysha), Oliver Ball (Theo).

Content Warning: Sexual themes & simulated sexual acts, strong language, and simulated use of drugs and drinking.

THE PLAYERS, THE PLAY, AND THE PRODUCTION: This was my first time watching a rock opera, yet it felt incredibly familiar and nostalgic. It’s been years since I’ve properly listened to Green Day (I believe my last recollection is watching their album spin inside my pink CD player while dressing my Bratz dolls) and I was comfortable humming in my seat knowing most of the lyrics before I could realize the title of the song playing. These are the anthems of the 2000s, the ultimate high school party songs, and the revolution of a time when youth was left to define itself under new socioeconomic conditions.

The show starts with clips of modern news. The Ukraine War, George Floyd protests, and Buffalo’s mass shooting. In the attempt to coordinate the fictional plot to our country’s modern reality, I would have liked to see mentions of this modernity throughout. Instead, the story immersed us back into plots abstract and symbolic within the character’s personal experiences. Nonetheless, there are relevant themes.

Johnny is a man on the hunt for newness. He sits around with his friends doing drugs and complaining, but he would like to do that elsewhere, and he wants his friends to come with him. Tunny gladly joins, but Will has learned his girlfriend is pregnant and begrudgingly stays behind. Each of the men finds their adventure, faces difficulty, then crawls back to the realization that it is both their mistakes and accomplishments that leave them dissatisfied. It’s not as simple as not fitting in as much as it is accepting that having a stable job and children will never keep their desire for ambiguity away. I think of musicals that support the idea of happiness as being a successful new job, a newborn child, or a move to the big city. AMERICAN IDIOT pursues a new narrative of achievement not equating to contentment. I’d argue that the chase for the newness is more enticing to the character (particularly Johnny and Tunny) than what is actually received.

I would have loved there to be more dialogue between the music. The album did not execute the storyline as I had hoped which caused confusion at times. Aside from Johnny’s brief narration at the beginning of his letters, I didn’t feel I could process the constant energy from the singing. There is power in taking the energy away and drawing into intimate scenes quietly. I wanted to see more development of Johnny’s love for Whatsername verbally, the blooming attraction between Tunny and Extraordinary Girl as he is suffering the wounds of battle, and Will’s careless behavior as a new father. The physical gestures of motioning these love story developments weren’t enough for me to connect and I deeply wanted to.

“Last Night on Earth” was beautifully done. Heather smiles down at her baby singing “My beating heart belongs to you”, in unison with Johnny’s girlfriend who is peering at a needle. Johnny convinces her to take drugs with him. But what drew the couples closer together was what ultimately shattered them. Heather’s baby encouraged her to expect a father out of Will, and Johnny’s drug addiction spiraled into the mistreatment of his girlfriend. Overall, there was no sense of outer connection strong enough to keep the men away from their inner downfalls.

The band truly captured Green Day’s glory using drums, piano, bass, guitar, and violin. I had to remind myself that I wasn’t listening to a recording! The ensemble was not afraid to vocalize and made fantastic use of the compact space provided. The props were minimal but the energy from the choreography was consistent and uplifting.

American Idiot is overall an enjoyable musical that revives the 2000s spirit in a gritty fashion.

*HERD OF BUFFALO (Notes on the Rating System)

ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.

TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.

THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.

FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.

FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!