Thoughts on the final UK performance of American Idiot to follow, from my seat on a gusty, packed South Western train home. A couple of stray thoughts before I begin: one, I met the next Walt Disney tonight. Two, becky1995 is Michelle Ryan. I couldn't think of a non-creepy way to say that in person, so I said it here instead. All were equally lovely. A group picture may follow.
So, the performance. The context here is of a fan who considers American Idiot the musical achievement of the genre. Its impact on me was immediate and lasting, and it remains my favourite record 8 years on. Indeed, one of my biggest regrets is never seeing the band perform it in its entirety back in 2004.
On that basis, the musical is both triumph and failure. Triumph, in so much as it is a great evening out, deceptively complex and as multi-layered as it is cleverly staged. The set is no match for the almost-paradoxical battlements from Les Miserables, but it is an organic, alive beast entirely befitting the kinetic energy of these great songs. No inch of the stage is left unloved; no surface unadorned. Indeed, so overwhelming is the display that I couldn't help but feel that to concentrate on any one element was to inevitably miss a thrilling set piece on the opposite end of the stage, or a clever bout of symbolic imagery on the many screens that adorn the stage.
The cast are varying degrees of excellent, with even the weakest members (the St Jimmy understudy, for instance) never any less than involving. Particular credit goes to the women of the cast, whose spirited rendition of Letterbomb was not only the angry, emotional climax of the evening, but more than worthy of sharing its heritage with one of the best songs Green Day ever wrote. Likewise, the bookending nature of Give Me Novacaine and When It's Time were both tinged with genuine sadness. It awoke not only feelings I associate with my first, tentative plays of the album all those years ago, but thoughts on my current place in life; the sight of Jesus and Whatshername embracing in the sultry red light of his bed, my cue to reflect on opportunities missed, chances wasted, and girls left unloved.
Of the productions failings, only two are of its own making. St Jimmy, while undoubtedly a fine singer and enthusiastic performer, lacks the menace inherent to the destructive, anarchic lead Billie envisioned. The abiding flavour is of a handsome lead from Glee, starring in his own jazz-hand, wide-eyed after school special. Rather less Glee and instead simply bizarre, was the turn taken during Extraordinary Girl, when the production throws us into an Eastern loop that seems entirely disconnected from the surrounding scenes of war, youth, and bitter love.
Those are minor quibbles, of course. Likewise the somewhat lukewarm rendition of American Idiot that opened the show. The real and overriding failure belongs instead to what WASN'T on stage: Green Day. For all their musical ability, none of the musicians tonight seemed anything more than adequate. There was little verve to the guitar playing; none of the choppy power chords Billie has made his signature. The drummer proved equally sedate, delivering a safe but resolutely lifeless performance. It reminded me greatly of the many Green Day covers that populate YouTube: the notes are there, but no spirit to be found.
Consider such criticisms a mark on an otherwise wonderful, vibrant ensemble. No theater could hope to house 8 years of memories and expectations but, as attempts go, the work of Michael Mayer and the entire cast - front stage and back - is a laudable effort. Their work integrating selected highlights from 21st Century Breakdown is flawless and, in many ways, a structural improvement on the original. That alone is a feat worthy of our applause, before we even begin to consider the surrounding choreography and wonder. This isn't a perfect show, but for the band themselves being up there, it could come come amazingly close. What we have instead is pure entertainment and a sustained adrenaline ride; a visceral and scarred canvas on which our hopes and Green Day's enduring work is painted, as loud and proud as you could have dared hope.