Two decades after the release of Green Day’s seventh studio album, the stage production by the same name is open in L.A. for a limited run. The musical follows three boys coming of age in post-9/11 America, using songs from the album to maneuver through their turbulent lives. Former USC faculty member and newly appointed artistic director of Center Theatre Group (CTG) Snehal Desai made his CTG directorial debut with, “American Idiot.” It’s the show’s first California residency since the premiere in Berkeley in 2009. Written by Billie Joe Armstrong and Michael Mayer, the original production spent one year on Broadway with generally positive reviews.
Center Theatre Group’s 2024 staging of the show comes with one stark addition for audiences: the inclusion of American Sign Language (ASL). The new production is in collaboration with Deaf West Theatre, an organization committed to bridging the gap between art made for Deaf and hearing communities.
Although I come from the perspective of a hearing person, in my eyes, they’ve built the Golden Gate Bridge — this production is nothing short of a masterclass in accessible theatre.
From the minute Daniel Durant (Johnny) and Milo Manheim (Voice of Johnny) burst onto the stage against the unmistakable “American Idiot” riff I was absolutely hooked. Dressed in similar plaid shirts, different only in color, it all clicked when Manheim belted the opening verse and Durant began signing: this production isn’t designed for one specific group of people, it is designed to be enjoyed by and accessible to everyone.
All three leading roles were doubled — the leading Deaf actors communicate their lines and lyrics via American Sign Language (ASL) while their respective “voice” actors speak/sing the part simultaneously. Any characters who are not doubled communicate both orally and through ASL, making the show accessible to those hard-of-hearing and/or Deaf throughout. Instead of placing interpreters offstage, this choice allowed all eyes to be glued to the performers.
Another element of accessibility in this performance is the projection of both the dialogue and lyrics. As the show’s book and songs are being spoken, sung and signed, the words are also displayed on screens at the front of the theatre, most of which are visible from every seat in the house. While likely employed in the case that an actor’s signing is not visible to or understood by an audience member who is deaf/hard of hearing, I also found the captions incredibly helpful as a hearing person. Those who are familiar with the album know that “American Idiot” is quite wordy, with a loud instrumental accompaniment to give it the pop/punk persona. Projecting the lyrics not only gives those who may not be able to hear them a chance to read them, but it also gives hearing audience members the opportunity to stay caught up on the story.
There’s no rewinding in live theatre, once a moment is gone, it often cannot be re-lived. Providing a bit of flexibility and accessibility to this art form is beneficial to all. Accessibility does not only benefit those for whom it is designed — disability rights activists have attempted to communicate this message for decades.
It is clear that accessibility was not tacked on at the end of this show’s development process, as it so often is; it was embedded in the show’s DNA. The accessible nature of this performance and the art itself are synonymous and cannot be separated. It undoubtedly took time and care to produce such a fantastic display, and by all accounts, in my opinion, it has paid off greatly.
Thematically, the show is as clear and relevant as ever, occasionally using modern imagery to set the 20-year-old music in the present day. There is no denying the current relevance of an album like “American Idiot,” as we enter a crucial election season. Desai reconciles the production with the current political climate in the show’s playbill.
“‘American Idiot’ seemed like the ideal musical to revisit this fall as we head into a pivotal election year and face ‘another turning point’ in our country’s history,” Desai wrote.
The specific storylines of the musical tend to be a bit muddy for me, as I seldom feel a clear sense of character motivations. The minimal dialogue between songs leaves some plot points disconnected. It is clear that the main characters each represent turbulent parts of the American identity including drug abuse and the unfulfilled glory of the American military, but these themes lack support in the plot. Tunny (Landen Gonzales) joins the military in an attempt to be the “Favorite Son,” but we know very little about Tunny’s character to rationalize this action.
Furthermore, while this specific staging offers a brief commentary on the experiences of the Deaf community, the musical itself does not provide much beyond that which Billie Joe Armstrong embedded in the album. Using Tunny’s storyline again, he arrives at the military recruitment office for a physical exam before enlisting and is turned away because of the hearing test (“Are We the Waiting”). Despite this display, Tunny continues to join the organization, likely a compromise between highlighting the limitations put on people with disabilities during military recruitment and maintaining the original storyline of the musical. Apart from these few moments of disability commentary, it’s Green Day’s music that holds the story.
For this production, however, these points hardly denote the value of the show. It is not attempting to win a (non-existent) Tony for character development, it is an homage to the adaptability of art. A look-what-we-can-do with a killer album, 20 vibrant performers and the utmost care for accessibility in theatre.
I would be remiss not to give flowers to the show’s performers and creative teams. The emotion and physical acting of leads Daniel Durant, Otis Jones IV (Will) and Landen Gonzales are palpable from anywhere in the auditorium. Their counterparts Milo Manheim, James Olivas (Voice of Will) and Brady Fritz (Voice of Tunny) also give impressive performances. Manheim’s presence is particularly electrifying. If and when he decides to depart from his tenure on Disney Channel, it seems he has a promising future on the stage.
Two standouts in the cast for me are easily Mars Storm Rucker as Whatsername and Mason Alexander Park as St. Jimmy. While Rucker has fewer vocal parts in the production, their opening verse in “21 Guns” rejuvenates a song that has been heard and covered countless times. I felt every word and heard every emotion. Additionally, Park steals the show with their interpretation of St. Jimmy. Their performance is one of contrived mischief, emulating an energy so palpable they demand the audience’s attention every time they are on stage.
Additional applause is given to the orchestra, led by David O, who truly brought Green Day’s music to life. In particular, Alex Bailey on drums is phenomenal, often layering complex meters to transition from one song to another. The heartbeat of “American Idiot” is in the drum kit, and Bailey is in the pocket all night.
The crew also does fantastic work to enhance the show, with Scenic Designer Takeshi Kata and Projection Designer David Murakami lifting the show’s accessibility off the ground (literally and figuratively). Costume Designer Lena Sands deserves special acknowledgment as well, for her costuming is the gravity of the production’s concept. So many characters intertwined with one another and Sands’ use of color and patterns, and at times the lack thereof, makes the vision clear.
The spirit of the show lives on and is reflected in the current political unrest that the country is facing. From the protests on college campuses to the raging conflict on gun violence in the United States, put best in “Jesus of Suburbia,” “We are the kids of war and peace, From Anaheim to the Middle East.” At a time when the country faces uncertainty and mass distress as conflicts grow and hope recedes, “American Idiot” offers solace in unity if not peace.
Furthermore, the wonderment of accessibility in the production reinforces the reality that as far as society and art have come, they still have far to go. Accessibility should not be a special feature in performing arts—it should be the standard, and Deaf West continues to exemplify ways in which theatre can be more inviting to people with disabilities.
Center Theatre Group and Deaf West have come together to produce an extraordinary reimagining of the beloved Broadway rock opera. Excelling in its staging, orchestration, choreography and technicality, this production moves as one to form a truly amazing display. It gives you the emotion and energy and then lets you decide where to put it, enforcing the somber message that September has ended and it’s time to wake up.
“American Idiot” is playing through November 16 at Mark Taper Forum (135 N Grand Ave, Los Angeles, CA 90012). Tickets start at $35.00 + fees. For more information, click here.