New Line Theatre doesn’t fool around, delivering a raw, punky "American Idiot"

Back in 2004, when Green Day’s “American Idiot” was released, I still owned and loved my iPod, which had more than 20,000 songs in it. With that kind of collection, believe me when I tell you I use music of all sorts to soundtrack my life in general and specific moods in particular.

On the way to any performance, I always try to match a playlist in preparation for the upcoming performance, one that will put me in the proper mood. I was around during punk’s early rise, and I still rely on the raw, unpolished work of the Sex Pistols, the Ramones and the Jim Carroll Band to voice my occasional outrage, defiance, disillusionment or alienation – all things that each generation of punk gives voice to – including Green Day and this musical.

New Line’s putting up this “American Idiot” seems well-timed for St. Louis’ self-proclaimed Bad Boy of Musical Theatre to catch the current political and cultural zeitgeist. If punk is your mouthpiece, then mission accomplished. Their production confirms what the New York Times stated in 2010, that “American Idiot” was “Stomping Onto Broadway With a Punk Temper Tantrum.”

Despite its obvious six degrees of plot separation from “La Bohème” by way of “Hair” and “Rent,” this production captures the raw energy and pop-punk spirit of young people railing self-destructively against the world through drugs, sex and rock ‘n roll. This production shines brightest – and loudest – in the numbers with the entire ensemble and those featuring the voice of a single character. Underpinning those successes is the on-stage New Line Band, which includes the usual rock instrumentation with violin and cello. The musicians sit behind a chain link fence, but their musical talents, under the direction of bassist John Gerdes, roam freely – and to the betterment of this show.

However, there were times when the volume of the band overwhelmed the singers, especially during some of the issues surrounding miking. This was not a problem if you know the songs by heart, which many in the audience clearly did. Clarity has not necessarily been a prerequisite of a good punk performance, anyway.

Director Chris Moore and Scott Miller stuffed the Marcelle’s black box theater space to the gills with the band, the featured players and a generous company of ragtag performers. This production embraces a lo-fi approach to both the set and the costumes. This achieves the effect of placing the performances at the heart of this production.

With a swagger swiped from Green Day’s frontman Billie Jo Armstrong, Clayton Humburg’s Johnny captures the character’s raw intensity, inner turmoil and rebellious energy while navigating his descent into disillusionment with authenticity and emotional depth. That depth was most apparent in the show-ending numbers of “We’re Coming Home Again” and “Whatsername.”

The two best performances in this production are provided by Deanté Bryant as Will and Rafael DaCosta as Tunny. Bryant’s Will conveys a powerful sense of stagnation and frustration, blending apathetic detachment with moments of deep emotional conflict as he grapples with personal responsibility and lost dreams.

DaCosta’s Tunny balances vulnerability and strength, portraying his journey from aimless frustration to a poignant transformation through war with emotional resonance and conviction. And more than that, even when he isn’t center stage, he maintains an intensity (and even some tears) that was as heartrending as it was impressive to watch.

It's not fair to lump the main female roles in “American Idiot,” but the show itself sort of does. Directors Miller and Moore clearly worked to elevate the parts, and they were successful. Whatsername, Heather and the Extraordinary Girl bring emotional depth and complexity, with Lauren Tenenbaum as Whatsername embodying fierce independence, Rachel Parker as Heather portraying the struggles of young motherhood and strained relationships and the Adrienne Spann as Extraordinary Girl symbolizing healing and hope in the midst of chaos.

As Johnny’s darker alter-ego, St. Jimmy is a chaotic and destructive embodiment of rebellion, addiction and self-destruction. The role demands high energy, charisma and an edgy, menacing and volatile presence, which the bare-headed Bee Mecey certainly delivers. There were numerous moments in their performance that felt too shrill, even screechy, which I assumed was a choice to place presence and personality over delivery. St. Jimmy is not supposed to be a likable character, and an occasional lack of musicality fits within that vibe.

New Line Theatre’s “American Idiot” continues at The Marcelle Theatre through Oct. 5. For more information, visit New Line’s website.