At This Performance: Van Hughes in American Idiot

Back in April, Mike wrote an article about his favorite performance of the role of St. Jimmy in his favorite musical, American Idiot (HERE). Today, he shares his thoughts on one performer who understudied all three principal male roles, a performer he had the opportunity to see in all three roles!

At This Performance:

Van Hughes in American Idiot

In the original Broadway run of American Idiot, Van Hughes served as understudy for all three of the young men whose story the show is about: restless wanderer Johnny, sudden family man Will, and injured soldier Tunny. In this blog, Jeff has invited me to reflect on my experience seeing Hughes in all three of these roles during my multiple trips to the show.

I first saw Hughes take on the role of Will, who is unable to accompany his friend Johnny on his adventure when he finds out his girlfriend is pregnant. While this seems to me like the most straightforward of the three roles, it’s also true that the actor playing Will is on stage almost the whole time and has to create some kind of character arc out of a small amount of material. Van Hughes’ take on the role was just as compelling as – and, to be honest, very similar to – that of Michael Esper, the regular performer. The main difference that I noticed was their vocal delivery in “Novacaine” and “Nobody Likes You,” for which Hughes gave a more traditional reading alongside Esper’s deliberately strained thinness. They were both great in the part, and they even looked a little bit alike.

I next saw Hughes when he substituted for Stark Sands in the part of Tunny, who runs away with Johnny to the big city but quickly finds himself being seduced into the army. Once again, Hughes pretty much nailed it, but in this case I must admit that Sands had the edge. Some of the reasons were a bit superficial: Stark Sands simply looked the part of someone who has it in him to be both a trouble-making slacker and a clean-cut soldier, whereas Van Hughes’ vaguely edgier look didn’t fit so well here. The “Extraordinary Girl” flying sequence was noticeably less tight when Hughes was in the role, especially the speed of some of the rotations (but this is something that I’m sure would be corrected if he had played the role for a longer term). And, although I don’t know exactly what the ranges are for the parts, it seemed like Hughes’ voice was not quite as well-suited to the relatively high tessitura of a song like “City of the Dead.” But these are largely quibbles from someone who saw the show too many times. Hughes gave a convincing performance, wringing out all of the heartache and uplift to be found in the journey of Tunny, whose story is somehow both the most tragic and ultimately the most joyous in the show.

I was finally able to see Hughes’ take on the central character of Johnny for the first - but not nearly the last - time when he played the role opposite Melissa Etheridge as St. Jimmy. And even though Etheridge is a genuine star in real life, it was Hughes who gave the standout performance, delivering a stunning interpretation of this very enigmatic role. It would be impossible to give a ranking of his performance with respect to that of regular star John Gallagher, Jr.; it doesn’t even feel quite right to compare them. While both performances were finely tuned to the role, their choices were categorically different, with very different benefits and rewards proceeding from these choices.

If you saw Gallagher in the role of Johnny, you know that he created a unique, fascinating character played with amazing discipline and precision. His Johnny was also, I think, rather stylized, a creation perfectly suited to the world of American Idiot but perhaps, I must admit, not very much like any person I’ve met in the real world. (This is not really a  criticism, and I’ll just leave it at that, since the topic here is Van Hughes.) Anyhow, all of this discipline and precision also meant that Gallagher’s performance was tightly constrained – and that’s something that was not at all true of Hughes’s performance, with very affecting results. Hughes attempted to show nothing more than a regular guy, slightly bored and resentful of his home situation, who decides to go on what he thinks will be an exciting journey but which will really end up dragging him down to hell and back. This was perhaps not as tightly wrought or ambitious a characterization as Gallagher’s, but the rewards were just as potent, because Hughes was very convincing in his vivid highs and exquisitely painful lows.

And so Hughes’s Johnny jumped up and down like a little boy on Christmas morning when he was about to leave with his best friend on a cross-country trip; when he got there, he swung his guitar playfully as he delighted in the prospect of conquering his new city. (Gallagher’s Johnny, so tightly wound from start to finish, would never do these things, and we wouldn’t want him to). Having established this, Hughes enabled himself to really bring out the horror of Johnny’s steady descent. And it was a nuanced, incremental one: although the effects of his drug use were starting to change him, Johnny was still basically a happy and optimistic guy when he first made love with Whatsername; much less so the second time, as St. Jimmy’s influence grew and the drugs became as important as the sex; and still less so by the time he sang “When It’s Time” to her as she slept. By the time he was threatening her with a knife (“Know Your Enemy”), the descent was complete, but significantly more shocking under Van Hughes’s performance, because this is something we could never have imagined of the young man at the start of the show.

Hughes went on to succeed Gallagher as the regular portrayer of Johnny on Broadway - not a surprise, considering how compelling his “trial run” proved to be - and he also headlined the show when it began its national tour. This gave me the opportunity to see his wonderful performance several more times, and it only got better as he gained experience in the role. 

#2565

 

ON THE RADAR: Kinky Boots

The film's promo

There really is no reason why the musical version of Kinky Boots should be on my radar.  Do we really need another musical based on a marginally successful film?  I mean, look at the rest of this season - 4 "new" musicals are based on films - Ghost, Once, Newsies and now Leap of Faith (another ON THE RADAR entry).  The  other two "new" musicals are re-treads, too - Rebecca has a film version or two, though the show is based entirely upon the novel, and Nice Work If You Can Get It is a songbook show based on another musical/  Heck, even the two remaining revivals, have movies made of them - Jesus Christ Superstar has never had a financially successful Broadway production, and is arguably best known to most by its concept recording and film version; Evita  will even incorporate its film-version song add-on, "You Must Love Me."

And with Kinky Boots we have yet another show that will feature a drag queen.  I love a good drag queen as much as the next musical theatre enthusiast, but enough, already - all three versions of La Cage aux Folles, Priscilla Queen of the Desert, Victor/Victoria, Chicago, Hairspray...!

A scene from the film

Still, it is on my radar, mostly because I'm hoping for another British film turned awesome musical like The Full Monty.  I love shows about every day people faced with the lowest point in their lives who over come it all with a great sense of style and a dance number or two.  Boots also has what Monty has: a genuine heart beating under a veneer of social consciousness all wrapped up in an outrageous, but sensible way out of its own plight.  Trade inexperienced male strippers with an inexperienced shoe maker creating drag-ilicious boots for guys dressed as gals, add the threat of unemployment and financial ruin and you can see that the two are related AND have current event relevance.

Cyndi and Harvey

People love shows they can relate to, laugh at, get an emotional tug at their heart.  Kinky Boots might just have that and more.  And let's face it, who better than Harvey Fierstein to write the book for such an enterprise?  A sense of humor with a socially aware bite to it is his forte, and the guy knows a thing or two about crowd-pleasing both with drag queens and emotional content.  Then there is the potential greatness of the quirky, slightly off the beam sensibility of music and lyrics by Cyndi Lauper.  The gal who knows a thing or two about the avante garde.  Plus, anyone who can pull off the fun of "Girls Just Wanna Have Fun" and "She Bop," AND make you bawl like a baby with "True Colors," seems the perfect match for both Fierstein and the property itself.

Stark and Billy

With the announcement this past week that Kinky Boots will be having a major workshop, you can tell this one is on the fast track to the big time.  Mega-producer Daryl Roth is the money behind it, and she ain't no slouch - look at The Normal Heart revival.  The generally underrated and too incredible for words Jerry Mitchell will direct and choreograph.  And the workshop will star the awesomeness that is Stark Sands (American Idiot) and the fabulousness of Billy Porter (if you missed him in the 1994 Grease as Teen Angel, you REALLY missed something amazing)!  The best of all possible worlds, I think.

The boots in question

Here's hoping the workshop is a success and that soon red leather thigh highs with 6 inch stilettos become all the rage on Broadway!

Jeff
3.138

REVIEW: American Idiot

Review of the April 3 evening preview performance. At the St. James Theatre on Broadway, New York City. 95 minutes, with no intermission. Starring John Gallagher, Jr., Michael Esper, Mary Faber, Rebecca Naomi Jones, Christina Sajous, Stark Sands and Tony Vincent. Choreographed by Steven Hoggett. Directed by Michael Mayer.

As those of you who follow my blog know, ever since the Berkley production of this show was announced, I have been excited about seeing what could be made theatrically of the Green Day album American Idiot. Well, I saw the show early in its preview period (and keep that in mind as you read, for things might have changed somewhat). There are many good things – excellent, even – about the show, but ultimately it left me cold, a little angry, and mostly disappointed.

The Album (works) and The Book (doesn’t): I'm thinking that Time magazine is right in calling the album a masterpiece. Its ideas and themes make it cohesive, and the sheer poetry of some of the lyrics is beautiful. The same can be said about the songs added to the show from their newest album, 21st Century Breakdown. And that an entire musical can be gotten out of an album that is unified by ideas rather than by a plot is remarkable. That said, I don't think the songs are consistently rich enough to sustain an evening without the aid of more book.

The book, such as it is by Billie Joe Armstrong and Michael Mayer, is merely a few recited “postcards” that help us know that time has progressed and that perceived wounds are gotten, opened, dealt with and healing. I like the postcards idea thematically, in so much as they are hand-written and snail mailed versus buying into the technology driven world of emails, blogs and instant messages. But I don't think the show would be hurt at all with some actual scenes; they are asking the songs to do more work than they are capable of. I’m pretty sure orchestrator Tom Kitt, who has done brilliant, Tony-worthy work here already, could have gotten with Armstrong and group to create musical interludes that feature wordless staging to fill in the gaps. This is a rock opera after all, and musical interludes wouldn’t interfere, but could enhance, and even make the few spoken words all the more dramatically impactful.

Jesus of Suburbia: John Gallagher, Jr.

(Plot spoilers ahead!) The story, such as it is, borrows and outright steals from other shows about rebellion, including but not limited to two current Broadway shows and a former tenant of the St. James Theatre – West Side Story, Hair, and The Who’s Tommy, respectively. American Idiot follows the trials and tribulations of early 21st Century 20-somethings who are full of self-loathing, self-pity and a nearly complete withdrawal from anything society deems appropriate. Sound familiar? The lead character, Johnny (John Gallagher, Jr.), is angry at the world as he sees it, which has been fed to him through a barrage of sound bites which pass for important historical, political points. And who can blame him? Part of being an American means wanting more for yourself and less of your government and authority, and when you are young and know everything, everyone else just pisses you off. Whether you call our hero Jesus of Suburbia, Riff or Berger, the central character in all of these instances suffers from the same dichotomy: dissatisfaction with the status quo and a society that has turned a deaf ear to his cries, yet he has become so self-involved, he cannot recognize any good fortune or happiness that might come his way.

A guy like this surely has buddies, equally wallowing and in need of support. In American Idiot, they come in the form of slacker couch-potato, Will (Michael Espey), and impressionable follower and fellow slacker, Tunny (Stark Sands). What are three guys, mad at the world and doing nothing about it but complain, to do? Road trip, of course! Well, two of the three actually start the trip as one must stay behind and (shock of shocks) fulfill his responsibilities as a parent-to-be along with slacker mom with a new awareness (Mary Faber) named Heather.

The Boys: Michael Esper, Stark Sands, John Gallagher, Jr.

After a stop to trash a 7-11, symbol of America’s ills, and a few all day booze sleep offs, Tunny is seduced by the glamour of celebrity endorsed war, and he enlists. That leaves poor Johnny to fend for himself. But Mr. Loner is never really alone for long, and soon he runs into two people who will change his life forever: the love of his life, Whatsername (Rebecca Naomi Jones) and St. Jimmy (Tony Vincent) an Acid Queen rip-off, who helps Johnny further distance himself from life with serious drugs. Soon, Johnny’s life is spiraling out of control. But Johnny isn’t just self-loathing, he is a pretty smart cookie who realizes he has hit rock bottom, and returns home to try his best at conforming to American society. In perhaps the show’s best, most subtle moment of commentary, Johnny leaves behind a destructive idiocy to become another kind of American idiot – a computer geek, stuck like the rest of us in a cubicle hell. The difference is that Johnny actually got out and tried to find something else; the rest of us gave up and now envy his bravery.

And before the final curtain, we find out what happens to both Will (and family) and Tunny. You can probably guess, but I have given too much away – though none of it should be remotely surprising – already. As I re-read what I just wrote, I am shocked that I got that much out of it, to be perfectly honest.

The Girls: Rebeccan Naomi Jones (left, center)

The Creative Idiots (lights, sets, sound and costumes work!):
Given that one of the points the show is trying to make that that we are overwhelmed by the media – terrorists in their own right – it seems only appropriate that the set (designed by Christine Jones) is a monolithic box, covered with headlines – some true, most sensationalistic. The walls are interrupted by all sizes of television screens, a perhaps too obvious symbol of an overpowering media. But they are used to best effect when they stop being part of the giant blur, but focus us (and stop us long enough to look) when they contain test patterns overlaid with messages like “Please Pay Attention”. Have we really come to this? I’m afraid so. Brian Ronan’s sound is superb, starting us off with an ominous, almost Emergency Broadcasting System, mix of sound bites that crescendo into a frightening cacophony as the curtain – last bastion of civilized ways – slowly rises to reveal a cast of outcasts, clad in spot-on costumes designed by Andrea Lauer, who has fully embraced the 21st century version of rebellious anti-socialists, but has also really gotten the irony that for all of their need to be non-conformists, they all look alike. This theme recurs, both as the ensemble, in underwear, “enlists” and later when they are in and home from the war. She also makes wonderful use of the glittery automatons that sell us things in infomercials in two key scenes. And as truly excellent all of the creative elements are, it will be an absolute travesty of injustice if Kevin Adams loses the Tony for Best Lighting of a Musical this year. What that man does with color and a light bulb or two is breathtaking.

The Direction and the Choreography (works and doesn’t):
I think a lot of what has been imposed upon it works, but just as much doesn't, and that is a shame, because there is a lot to American Idiot. And that, I’m afraid has more to do with the direction and choreography than anything else.

I was absolutely floored by Michael Mayer’s work on Spring Awakening, and he seems to be the logical choice for Idiot. But where “less is more” must have been his mantra with the former show, “excess, excess, excess” must have been the new chant for the latter. Perhaps in his exuberance to bring the piece to the stage, he threw every trick he had into it. It is mostly excessive in volume, intensity and message, which, I guess is everything. The staging is unbearably busy; it is impossible to catch everything and the lack of focus confuses the issue way more than it needs to. For example, there are several times when you know Gallagher, Jr. is singing, but where he is on the set is questionable. I mean playing “Where’s Waldo?” really shouldn’t be part of this experience. Of course, he is not alone in making this too busy. No, Steven Hoggett the choreographer needs to bring it all down a notch or two, too. I have never seen so much running around and repetition in such a short span of time. It is no wonder the entire cast is out of breath and glistening with sweat from the moment the curtain rises. Perhaps it wouldn’t be so bad if there was some variety, but mostly, it is head-down, shoulders slouched posturing and boot stomping, or it is reminiscent of the “zombie stomp” sequence in Michael Jackson’s Thriller, with the added bonus of a move we used to call “the lawn mower rope pull” in the 80’s. I’ll be fair: there are a few times where the dancing quiets down, but mainly so that the boys and girls can fondle themselves a la Spring Awakening. (Mr. Mayer likes the masturbatory images a bit much, I think...)

Stark Sands and Company

At other times, the staging and concept is heavy-handed – the aforementioned opening sound bite montage, the upside down American flags on the screens, the entire 7-11 sequence, and the copious, dangerous and very distracting amounts of trash that litters the floor. I knew we would be in trouble when the first thing you notice is one of the “rebels” hanging upside down watching TV while giving the screen the finger. Anarchy or an excuse for a head rush? I’m betting the idea is the former, but the truth is the latter. And that is much of what ails American Idiot. It wants so bad to be an earnest, important piece, but it can be very hard to take seriously, especially when the watch-cry of the show is “take a fucking shower!” Or maybe it is a hero, who has nothing but contempt and disdain for anything commercial, wears an Indiana Jones t-shirt, which represents the apex of commercial films! (I wish I could say they are going for irony, but it just isn’t that smart. Not even for the benefit of the doubt.)

Tony Vincent as St. Jimmy

But just when I was ready to hate the whole thing, Mayer (and Hoggett, too) throws me a curve or two, and creates some beautiful and stunning stage images. First, there is the mind-blowing road trip sequence to “Holiday” the catchiest tune in the show, which in the space of about five minutes has the premises set up, characters leaving, staying behind, an amazing transformation of scaffolding into a bus, and some gasp-inducing projections (by Darrel Maloney). As the bus leaves the stage, your mouth is agape. After that, pretty much all of the up-tempo stuff goes by in a blur, mostly because of the sameness of the staging, but it also points up the other incredible moments – the quiet, introspective numbers: “Boulevard of Broken Dreams” where the three guys sing this anthem from different places, but all together with only their voices and the guitars they play; the equally quiet “Wake Me Up When September Ends” and the powerful full company ballad, “21 Guns,” amazing for its meaning, staging and sound. Finally, there is the entire Army hospital sequence, including “Extraordinary Girl” which has a burka-clad angel float in from above and transform into an “I Dream of Jeannie” fantasy for the figuratively and literally flying morphened Tunny. It is those moments that show us everything American Idiotcould have been.

The Company (works!!!!):
The entire 19 member cast of the show is so committed to every single second of the show. No one gives less than 100%, though a couple of members might do a bit less scenery chewing, 100% of the time. And the 12 member ensemble goes through dozens of rapid costume changes and comes across like there are at least twice as many of them. The offer amazing support to the equally amazing 7 named main cast members.

Christina Sajous and Stark Sands

As the Extraordinary Girl, Christina Sajous is both mysteriously sexy, and wonderfully down to earth; that she can pull off both the fantasy girl and the caring Army nurse/Army buddy role speaks to the detail and subtlety of her performance. Similarly, Rebecca Naomi Jones works the hell out of her character, Whatsername, alternately, sexy, vulnerable and strong. Mary Faber, as the mother-to-be Heather, does the absolute most she can do with the very little she is given to work with. (The three lead females are wondrous in “21 Guns.”) And Tony Vincent does everything that can be expected from such a one dimensional character as St. Jimmy. His voice is thrilling and his presence is unmatched, but he is emblematic of the whole show’s need to take it down a notch or two.

Michael Esper and Mary Faber

Michael Esper, as couch potato Will, literally never leaves the stage, and just by that virtue alone deserves commendation. Even in the dark, he is fully committed and in character. He has a nice voice that blends well with the others. Stark Sands, as Tunny, offers a nice counterpoint to the whole show. When he is part of the intensity, his is a detailed, nuanced and quiet performance. Mr. Sands has an excellent voice, and has created a fully realized deep character out of virtually nothing. I hope his name is among those on the Tony nominee list. His performance from “Extraordinary Girl” through to the end is superb in every way.

The biggest draw here, of course, is John Gallagher, Jr., who has reunited with Mayer to create another variation on the angst theme – this time as a 20-something. He has the perfect voice for this show – rock and Broadway all in one, and you really believe him when he wails, “I don’t wanna be an American Idiot!” He is incredibly intense, and is giving more than 100% every single second. He is leading this company by example, but one hopes he doesn’t burn out. Still, one would wish that he were a little less “Moritz” and a little more “Johnny.” His line readings are straight from his former show – not entirely out of place, but unoriginal at best. Even so, at 25, the young man can carry a show. Congratulations to him.

The last show I've thought this much about was Spring Awakening...maybe I liked it more than I even thought... maybe not...


GRADE: B-



Comments?  Leave one here or email me at jkstheatrescene@yahoo.com.
Jeff

UPDATE: American Idiot

Well, the exciting news about Broadway's (potentially) most exciting new show, American Idiot, just got more exciting!  First, it is really great that the show is tranferring at all; and that it is at the plumb St. James Theatre is icing on the cake.  Then, as if a score by Green Day, direction by Michael Mayer, and abook by Mayer and Green Day's Billie Joe Armstrong weren't enough, now the cast has been officially announced, and it is a strong one.

Most of the cast is transferring from the Berkley Rep world premiere last year.  The leads are fabulously talented: John Gallagher Jr. (Tony-winner for Spring Awakening) will star as Johnny with newcomer Stark Sands (Journey's End, Bonnie and Clyde: A New Musical) as Tunny, Michael Esper (The Four of Us, A Man For All Seasons) as Will, Rebecca Naomi Jones (Passing Strange) as Whatshername, Christina Sajous (The Wild Party) as The Extraordinary Girl, Mary Faber (my favorite Kate Monster in Avenue Q, Saved) as Heather and Tony Vincent (Jesus Christ Superstar - on Broadway & DVD) as St. Jimmy.

And the ensemble looks to have the depth of a World Series winning team: Declan Bennett (Rent), Andrew Call (Glory Days, Cry-Baby), Gerard Canonico (Spring Awakening), Miguel Cervantes (Spelling Bee), Joshua Henry (In the Heights), Van Hughes (Saved, Hairspray), Brian Charles Johnson (Spring Awakening), Joshua Kobak (Rent), Lorin Latarro (Movin' Out), Omar Lopez-Cepero (North American tour of Evita), Leslie McDonel (Hairspray), Chase Peacock (Disney's High School Musical), Theo Stockman (Hair), Ben Thompson (Cyrano with Placido Domingo), Alysha Umphress (bare), Aspen Vincent (Dirty Dancing) and Libby Winters (White Noise).  Looks like these folks have the widest variey of musical experience out there!

It was also announced that the cast would be appearing on the Grammy Awards this Sunday with Green Day, to perform a special version of the group's Grammy-nominated song "21 Guns."  Set your DVRs!

Ugh, now if I can just get an American Express card for advance purchases!  Still, I think they might want to consider their audience when selling tickets and the scale of prices... not everyone in their teems to mid-20's is Gossip Girl rich.

PHOTOS: Top Group: John Gallagher, Jr. and Tony Vincent in American Idiot; Michael Esper in The Four of Us; and Stark Sands (with Laura Osnes) in Bonnie and Clyde.  Middle Group: Christina Sajous; Rebecca Naomi Jones (right, with Daniel Breaker) in Passing Strange; and Mary Faber (right, with Celia Keenan-Bolger) in Saved.  Bottom Group: Chase Peacock (center) in Disney's High School Musical; Lorin Latarro; and Gerard Canonico.

Comments?  Leave one here oremail to jkstheatrescene@yahoo.com

Jeff