Article:9990; Posted: July 17, 2015 at 9:00 p.m.

When a Broadway touring company brought their production of “American Idiot,” the hugely successful and critically acclaimed rock musical based on the 2004 Green Day album of the same name, to Michigan in 2011 the show was compelling mostly for the drive and force of its songs that are part of the cultural consciousness of anyone who has listened to FM radio in the past 15 years–punk fans or not.

But translated and re-envisioned for The Barn Theatre, its effects are completely different, and certainly more powerful. What fell flat in the flashy, highly technical touring company production in giant auditoriums—namely character development and story—really comes to life in the more intimate space at The Barn. And in the hands of Director Brendan Ragotzy, who is in his element with the rock opera genre, this is not only “high intensity musical theatre” as he described it in his curtain speech opening night; it’s a high octane, powerful, and darkly meaningful night at the theatre. In other words, not your average summer stock musical.

Nominated for a Best Musical Tony and awarded a Grammy for Best Musical Show Album in 2010, “American Idiot” focuses on three white suburban middle-class buddies who are full of the all-too-familiar youthful male rage that, in their case, is inspired by their disillusionment with a post-9/11 America. In response, Johnny heads off to the city where heroin quickly takes hold; Tunny joins the military and goes to war; and Will stays home because he got his girlfriend pregnant. The characters are relatable and not terribly likable, though they redeem themselves in how they learn and grow from their wounds.

The narrative unfolds through Johnny’s letters home and the recognizable Green Day songs we’ve heard countless times, most notably “American Idiot,” “Holiday,” “Know Your Enemy,” and “21 Guns.” But with the fine acting and terrific technical choices of this production, the music takes on new resonance.

This truly is an ensemble effort in that there are no real stars; the giant numbers full of harmonies are the strongest. The only real virtuoso performance comes from lead guitarist Troy Benton in a couple of standout solos. He and drummer Ryan Demeniuk are extraordinary among a really solid onstage six-piece band led by Musical Director Matt Shabala on keyboard. As it should be, the music is absolutely central.

When they sing “This is the dawning of the rest of our lives” in “Holiday,” the hope and youthful exuberance of Kevin Robert White as Johnny and Michael Tuck as Tunny is palpable. Their characters shift and change through the terrible experiences of addiction and war, and they come full circle, together with Jamey Grisham as Will, when they sing “Summer has come and passed, the innocence can never last” in “Wake Me Up When September Comes.” Overall, Ragotzy created a well-chosen cast that works remarkably well together.

White captures the right blend of rage and naivety, and Jake Rura is an exceptional dark anti-hero as St. Jimmy. He best captures the seedy rock-and-roll underbelly. A major flaw in the script is the laughably weak female roles that are barely an afterthought, but Samantha Rickard as Whatsername has one of the strongest voices in the show if not much chemistry with her leading man. Jamey Grisham is a wonderful Will, and though his voice is a little less rock-and-roll than the others, it’s especially suited to ballads such as “Give Us Novacaine” and “Wake Me Up When September Ends.” He also pulls off an impressive feat with his choreography: choreographed punk is an oxymoron, but his masculine, tense, angular movements create a full and appropriately chaotic stage.

Also impressive is the smart and inventive use of space. Shy Iverson’s graffiti-covered set pieces and dozen broken television sets laced with fairy lights effectively create a gritty and malleable scene, and a giant turntable center stage allows for expansive movement, amplified choreography, and various imaginative spaces on a relatively small stage. It also symbolizes the characters’ evolution in their realization and acceptance that “the world keeps spinning around and around.”

Like “Hair,” “Rent,” and other period rock musicals, “American Idiot” captures a particular time in American history, one that isn’t pleasant. But pushing the boundaries of what form and genre can achieve is the important work artists must do. Kudos to The Barn for stretching their talents, resources, and audiences with this engaging production that amounts to far more than entertainment.

SHOW DETAILS:
American Idiot
The Barn Theatre
13351 West M-96, Augusta
July 14-26: Tuesday through Friday at 8:00 pm, Saturday at 5:00 p.m. and 8:30 p.m., and Sunday at 5:00 p.m. 2015
Tickets: $37.00
269.731.4121
Barntheatreschool.org.com