The first 20 minutes ‚ the title track, the mini-opera “Jesus of Suburbia” and the caustic escape song “Holiday” - are a whirl of unison moshing and hell-yeah vocal ardor by a young cast that looks and acts like it jumped out of the pit at a Green Day gig. Loud, fast and sugar-free, American Idiot - the odyssey of an adolescent screw-up, the Jesus of Suburbia, through sex, drugs, despair and occasional joy in the first dark years of the second Bush presidency - is the most authentic and modern rock & roll rush on Broadway. “I’m like, ‘From “Yankee Doodle Dandy” to American Idiot - how the fuck did I get here, man?'”īut Mayer and his creative team, including choreographer Steven Hoggett and music supervisor Tom Kitt (who won a Pulitzer for composing the Broadway hit Next to Normal), got the record’s brick-muscle assault and Armstrong’s narrative to the stage intact. “This is the guy who wrote ‘Yankee Doodle Dandy,'”Armstrong says, singing a few bars at Ramones-like speed. Cohan, which opened on the same stage in 1927. Then I saw this sign.” It was a poster for The Merry Malones, a musical written by George M. James,” Armstrong says, “I walked backstage looking for a bathroom. Onstage, director Michael Mayer is coaching two members of the 19-strong cast through last-minute tweaks in gesture and vocal delivery. Opening night is barely a week away: After a month of previews and standing ovations, American Idiot, the musical-theater adaptation of the group’s 2004-protest-punk album, makes its Broadway debut here on April 20th. James Theatre in New York with bassist Mike Dirnt and drummer Tré Cool.
Green Day’s singer-guitarist is sitting in the mezzanine of the St. It’s insane!” Billie Joe Armstrong exclaims, his eyes wide with wonder.
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