{"id":17042,"date":"2024-11-10T13:34:38","date_gmt":"2024-11-10T21:34:38","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17042"},"modified":"2024-11-10T13:34:38","modified_gmt":"2024-11-10T21:34:38","slug":"give-me-novacaine-american-idiot-ctg-mark-taper-forum","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17042","title":{"rendered":"Give Me Novacaine | “American Idiot” @ CTG\/Mark Taper Forum"},"content":{"rendered":"

\"American\"\"Time, and the perspective that it gives.<\/p>\n

On two-show days, I like to think if there is any theme connecting the shows. For yesterday, the theme turned out to be the perspective of time. As I said: We had two shows yesterday (something I like to avoid), due to the poor subscriber service at CTG, which didn’t tell us the Taper dates until 3 weeks before the show. As a result, we had a 2:30pm Matinee of\u00a0American Idiot <\/em>at the Mark Taper Forum (on the same day the\u00a0Wicked<\/em> movie was having its 7:00pm premiere at the Dorothy Chandler), and an 8:00pm performance of Back to the Future: The Musical<\/em> at Broadway in Hollywood (Pantages).<\/p>\n

What connect\u00a0American Idiot<\/em> and\u00a0BTTF<\/em>? The answer is time.<\/p>\n

We’ll delve into the perspective of time for\u00a0BTTF<\/em> in the next writeup. But for\u00a0American Idiot<\/em> the perspective of time really leads to a different interpretation of the piece. The original album was written in 2004<\/a>, at the height of the Iraq war, with the Bush administration in office. As Wikipedia notes: “The album expresses the disillusionment and dissent of a generation that came of age in a period shaped by tumultuous events such as 9\/11 and the Iraq War.”. It was turned into a musical that hit Broadway during the Obama administration. We saw it in a traditional tour presentation at the Ahmanson in 2012<\/a>. It was hard to fathom the plot from that presentation, other than “Alienation. Anti-war. Love. Perils of war. Perils of drugs. Perils of relationships.”<\/p>\n

But time changes perspective. Seeing\u00a0American Idiot\u00a0<\/em>just a few days after the election of Donald Trump to a second, discontinguous term, brings new meaning to the piece. Suddenly the words about a hateful America, an America where the media is lying to us, an America that creates disillusionist view hits home.\u00a0 The nihilism. The rage. It captured the anger from both sides.<\/p>\n

The new presentation aided this view distinctly. The Deaf West approach had the lead performers signing, with “voice of” performers parallel to them singing the words, and (most importantly) all lyrics projected. You could actually understand the words, and see the poetry of Billy Joel Armstrong shine through.<\/p>\n

You want a clear example. Just look at the opening number, and think about it in the context of Trump, how the media seemed so numb to Trump’s lies and incoherence:<\/p>\n

Don’t wanna be an American idiot<\/em>
\nDon’t want a nation under the new media<\/em>
\nAnd can you hear the sound of hysteria?<\/em>
\nThe subliminal mindfuck America<\/em><\/p>\n

Welcome to a new kind of tension<\/em>
\nAll across the alien nation<\/em>
\nWhere everything isn’t meant to be okay<\/em>
\nIn television dreams of tomorrow<\/em><\/p>\n

We’re not the ones who’re meant to follow<\/em>
\nFor that’s enough to argue<\/em>
\nWell, maybe I’m the faggot, America<\/em>
\nI’m not a part of a redneck agenda<\/em>
\nNow everybody, do the propaganda<\/em>
\nAnd sing along to the age of paranoia<\/em><\/p><\/blockquote>\n

Although this was written in the era Bush, anti-Al Quaida sentiment, It truly takes on a different perspective in this era of Trump, this era of hatred, this era of paranoia about immigrants. Time changes our perspective of musical theatre pieces. Some become less relevant and dated. Some find new meaning. There was a reason that\u00a0Chicago\u00a0<\/em>failed when it first opened, and then hit it big in the era of OJ and the celebrity killer.\u00a0American Idiot\u00a0<\/em>is written for the anger and the era of Donald Trump<\/p>\n

(Oh, and\u00a0Back to the Future<\/em>? Think about how the time change impacts Marty’s perception of his parents. More on that in the next writeup)<\/p>\n

It is clear that the impact of Green Day’s album has grown, and is more relevant now than in 2004 when it was first released. I also tend to love the music from it. Instead of being the angry dissonance I expect from punk rock, Green Day brings wonderful melodies beneath the loud; melodies that stick in your head and drive you.<\/p>\n

The staging here is also unique. As I noted above, this is a co-production between Deaf-West<\/a> and CTG<\/a>.\u00a0 Deaf\/signing actors are the leads, with “voice of” actors trailing behind them. Words are projected on stage, making it easy to understand what is being said. There is poetry of movement, poetry of hands, that go together with the poetry of the words.<\/p>\n

Is\u00a0American Idiot<\/em> perfect? No. As is pretty much true for any rock album turned into a stage show, there is little connective tissue. There is little expository dialogue. As such, the characters never quite jell as distinct people. They never acquire personalities. You lose the story in the music; the music evokes feelings much more than the performances. As a result, you sit back and let the music wash over you; you read the lyrics, and let the performance supplement all that is evoked by the music and lyrics. This isn’t traditional theatre.<\/p>\n

There are remarkable performances from the leads (and we had a number of folks swinging in at our performance). There are remarkable\u00a0performances<\/span> from the band, and not just musical ones (watch the folks on the violins).<\/p>\n

One other discordant note — not performance related. CTG has gone to a new ticketing system, and it is problematic. The old system allowed you to download your tickets to Apple Wallet, or text them to your phone. The new system supposedly allows download to Apple Wallet (although it never gave me the option on an Android phone). But there is no text option anymore, nor the ability to use Google Wallet. Ticketmaster (which BIH uses) has its flaws, but it at least understands that folks use both Android and Apple. If you are an Android user, you’re stuck using data to go to the CTG website. Poor form. On the plus side, CTG excelled where it always excels: accessibility and parking. The new subscriber parking vouchers worked great, and the Taper was able to accommodate a last-minute need for a seat with legroom so my wife could stretch her leg.<\/p>\n

The CTG\/Deaf West production of\u00a0American Idiot<\/em> is well worth seeing. Alas, by the time you read this it may be too late: the last performances were to be today, but it has been\u00a0extended one week,\u00a0<\/em><\/strong>now closing on November 16. You can get tickets here<\/a>. More information on the show here<\/a>.<\/p>\n

Finally: Nobody Likes You \/ Everyone Left You \/ They\u2019re All Out Without You \/ Having Fun<\/p>\n

\u2014\u2014\u2014<\/p>\n

Green Day’s American Idiot<\/em>. Music by\u00a0Green Day<\/strong>. Lyrics by\u00a0Billie Joe Armstrong<\/strong>. Book by\u00a0Billie Joe Amstrong<\/strong> and\u00a0Michael Mayer<\/strong>. Directed by\u00a0Snehal Desai<\/strong>. Choreography by\u00a0Jennifer Weber<\/strong>.<\/p>\n

Cast<\/span> (All performers are \u04d5 Actors Equity; underscored performers indicate performers at our performance): Daniel Durant \/ Giovanni Maucere<\/span> Johnny<\/em><\/span>; Milo Manheim\u00a0Voice of Johnny<\/em><\/span>; Otis Jones IV\u00a0Will<\/em><\/span>; James Olivas\u00a0Voice of Will<\/em><\/span>; Landen Gonzales\u00a0Tunny<\/em><\/span>; Brady Fritz \/ Patrick Ortiz<\/span> Voice of Tunny<\/em><\/span>; Ali Fumiko Whitney\u00a0Heather<\/em><\/span>; Mars Storm Ruckner\u00a0Whatsername<\/em><\/span>; Ty Taylor\u00a0St Jimmy<\/em><\/span>; Kaia T. Fitzgerald\u00a0Extraordinary Girl<\/em><\/span>; Jerusha Cavazos \/ Monika Pe\u00f1a<\/span> Voice of Extraordinary Girl<\/em><\/span>; Will Branner\u00a0Favorite Son<\/em><\/span>; Monika Pe\u00f1a \/ Mia Sempertegui<\/span> Alysha<\/em><\/span>; Steven-Adam Agdeppa Ensemble<\/span>, Lark Detweiler Ensemble<\/span>, Josu\u00e9 Martinez Ensemble<\/span>, Angel Theory Ensemble<\/span>; Patrick Ortiz<\/span> Ensemble\/Swing<\/span>, Mia Sempertegui <\/span>Ensemble\/Swing<\/span>; <\/em>Giovanni Maucere<\/span> Swing<\/span>.<\/p>\n

Music Departments<\/span>: Tom Kitt\u00a0Music Arrangements and Orchestrations<\/em><\/span>; David O\u00a0Music Supervisor, Conductor, Keyboard, Accordion<\/em><\/span>; Justin Smith\u00a0Guitar 1<\/em><\/span>; Ben Covello\u00a0Guitar 2, Assoc. Conductor<\/em><\/span>; Carlos Rivera\u00a0Bass<\/em><\/span>; Alex Bailey\u00a0Drums<\/em><\/span>; Nicole Garcia\u00a0Violin<\/em><\/span>; Nikki Shorts\u00a0Viola<\/em><\/span>; Michelle Rearick\u00a0Cello<\/em><\/span>; Robert Payne\u00a0Music Contractor<\/span>.<\/em><\/p>\n

Production and Creatives<\/span>: Takeshi Kata\u00a0Scenic Design<\/em><\/span>; Lena Sands\u00a0Costume Design<\/em><\/span>; Karyn D. Lawrence\u00a0Lighting Design<\/em><\/span>; David Murakami\u00a0Projection Design<\/em><\/span>; Sheila Dorn\u00a0Wig, Hair, and Makeup Design<\/em><\/span>; Beth Lipari\u00a0Casting Director<\/em><\/span>; DJ Kurs\u00a0Deaf West Theatre Artistic Director<\/em><\/span>; Jeff Perri\u00a0Deaf West Theatre Managing Director<\/em><\/span>; Colin Analco\u00a0ASL Choreographer<\/em><\/span>; Amelia Hensley Assoc ASL Choreographer<\/em><\/span>; David S. Franklin\u00a0Production Stage Manager<\/em><\/span>; Michelle Blair Stage Manager<\/em><\/span>; Sue Karutz\u00a0Stage Manager<\/em><\/span>; Coproduction of Deaf West Theatre<\/strong> and Center Theatre Group<\/strong>.<\/p>\n

Favorite Minor Credit<\/span>: TBD Loctition<\/em><\/span>. Loctition is the maintenance of dreadlocks. Learn something new every day.<\/p>\n

\u2666 \u2666 \u2666<\/p>\n

Administrivia: I am not a professional critic. I\u2019m a cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>; and\u00a05-Star Theatricals<\/a>. We\u2019re looking for the right intimate theatre to subscribe at \u2014 it hasn\u2019t been the same since\u00a0Rep East died<\/a>\u00a0(it\u2019s now\u00a0The Main<\/a>, and although it does a lot of theatre, it doesn\u2019t have seasons or a resident company), and post-COVID, most 99-seaters aren\u2019t back to doing seasons (or seasons we like). I used to do more detailed writeups;\u00a0here\u2019s my current approach<\/a>.<\/p>\n

Upcoming \u2666 Theatre \/ \u2663 Music \/ \u25ca Other Live Performance \u2013 Next 90ish<\/em> Days (\u2295 indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.<\/p>\n