DIRECTOR'S NOTES
“Why would you choose to do this play in a high school?!”
I was in the audience in 2009 when American Idiot had its pre-Broadway opening night at the Berkeley Repertory Theatre. I remember that Billy Joe, Green Day lyricist, lead singer, and author of the play, was sitting four rows ahead of me, and from the moment the show started I was blown away. It was a full-out energy rush of raw emotion and visual excitement. Throughout the show I was spellbound. Up to that point I had never been a huge Green Day fan, but I was so instantly taken by the music and controlled chaos of the production. It was such a satisfying theater experience on so many levels. Going in I hadn’t expected to feel the tremendous range of emotions. It was sad, joyful, and thought-provoking. When the curtain came down I turned to my husband, Jeff, and said, “I am directing this show with high school kids some day.” I knew this material would speak powerfully to young performers and I knew I wanted to take this challenging journey with my theater students.
I have always been a fan of the rock-opera genre in Broadway history–from Jesus Christ Superstar, Hair, The Who's Tommy to the more recent Spring Awakening, and I felt when watching it, that American Idiot was essentially like Hair for the next generation–younger, edgier, and louder than the typical Broadway fare, but with a powerful message for young people and an incredible score.
Like Hair, this play also beautifully examines the dissatisfaction of youth at a time when the country is at war and when economic conditions for the young are uncertain at best. Both the story and the score capture the anxiety of coming of age in tumultuous times and the accompanying feelings of powerlessness and rage. The theater geek in me also came to instantly appreciate Green Day’s music and how well the story was supported by their lyrics and songs. Billy Joe is a natural storyteller and showman and was destined to collide with theater at some point.
I love that American Idiot is both a classic hero’s journey and a modern cautionary tale. Like a Greek myth, the characters exude hubris and are brought down by some harsh realities in their reaching for the Sun. They learn hard lessons and the story highlights the dangers that surround disaffected youth as they encounter hardcore drug use, early parenthood, alcohol, the loss of love, and the violence of war. Their love, pathos, friendship bonds, and the cruel realities of their journey feel powerful and identifiable.
A note about the strong language and mature content in this play: My goal, always, in choosing material for my students, is to find something challenging, diverse, educational, and uncharted, and I know there will be some audience members who object to the language in the show. In my judgment, the power of the piece outweighed my concerns about the language. I also knew that the music and the choreography would be super fun and engaging for young performers and I would get a great turn out at auditions! I am also all too familiar with the real language that young people use to relate to one another and express their frustrations. It felt wrong to make extensive cuts to the more colorful parts of the lyrics and dialogue in American Idiot and thus alter the gritty reality of the world in which the story takes place. In short, hold onto your hats and brace yourself for the “f-bombs.”
I am in love with this show and cast, and I am so grateful to work at a school like Sonoma Academy that would allow me to take on this challenging and provocative material. I am also thankful to the students for going on this extraordinary and, at times, treacherous journey with me. I would also like to acknowledge the inspiring adult leadership on this production, without whom it could not have happened: To Alia, our talented choreographer who got these kids rocking out in a fun and fearless way! To my good friend and colleague Jamie, whom I pressured relentlessly into working on this project with me, and who led the band like a pro–and is playing guitar in the pit with genius and precision. And last but not least, to my dear colleague Benjamin, whose musical genius and direction added so much depth and beauty to this wild music.
