American Idiot Company Theatre’s ‘American Idiot’ Soars

In opening 2019 with Green Day’s American Idiot, Company Theatre continues its 40-year track record of presenting productions with high artistic quality and audience appeal, and of bringing beloved Tony-award winning shows to South Shore audiences. Last year’s fabulous production of Ragtime was a well-executed revival of the Broadway hit musical (including an exact replica Model T Ford on stage, set pieces from the original Broadway national tour, and Boston Equity actor Peter Adams reprising his role as Father from the national tour as a headliner).

American Idiot is a departure from Company’s typical programming, and is not a faithful recreation of the 2010 Broadway production, both good decisions. Though it won two Tony Awards for best scenic design and lighting design for a musical, and received a nomination for best musical, it closed after 422 performances and was critiqued for its loosely scripted narrative and frenetic dance movements. For this production Company Theatre’s best decision may have been to put it in the capable hands of director and choreographer Corinne Mason, and musical director Stephen Bass. Their version of American Idiot is not just a rock opera, as it was rebranded for Broadway – a sung through version of the very popular album, but soars as a contemporary musical theatre production. Musical theatre in that the story is told through acting, song and dance by performers who are triple threats. [Reviewer’s note that in operas, the singing naturally comes first, and choreography second if at all, and for Broadway’s rock opera they cast rock singers, who could most definitely sing but not necessarily act nor dance, in the title roles]. Musical theatre production in that the artistic elements, e.g. set, lighting, costumes are all designed and produced in keeping with an aligned artistic vision, Contemporary musical theatre in that the storytelling is driven by a beautiful blending of word, song and dance, in contrast to other productions of the musical theatre genre that are dialogue-stop-song-stop-production number-rinse and repeat. And, a production in which the ensemble – the entire company including principal, featured, chorus, and swings – is the bedrock. 

The iconic songs of American Idiot – “Boulevard of Broken Dreams”, “21 Guns”, “Wake Me Up When September Ends”, “Holiday”, and the blockbuster title track, “American Idiot” – will always be the centerpiece of the show. For decades, Company Theatre’s musical direction has been stellar, and as with last year’s Ragtime and Oliver, Steve Bass demonstrates his skill as a music director who helps the actors, musicians, and the songs sparkle. Being able to see the musicians playing in the pit is also a treat (shout out to the amazing bow work of the violinist). Corinne Mason’s first connection to American Idiot was to the album; she was a Green Day fan as a teenager. As a professional director and choreographer she takes her affection for the material and adds layers to the characters and puts the songs in context. In contrast to the Broadway choreography, primarily each character making different angry jerky body movements and sometimes moving their heads to the music at the same time, Mason’s staging and choreography are more synchronized and intentional. Her ensemble pieces are energetic and more evocative of this generation’s collective angst. Mason’s experience as an actor and educator (college theater professor) of young actors is also evident in the finale. She has fostered the love the characters/actors have for each other and of the work. This especially shines through in the finale, and brings the audience to their feet.