American Idiot as performed by Galway University Musical Society

American Idiot as performed by Galway University Musical Society

Thursday 1st February 2014. 

I have never been a big fan of Green Day nor punk rock, nor the associated prevalence of drug-induced psychopathy and self-abuse, and even as I entered the theatre, alive with super enthusiastic and supportive students, filled with a sense that they were about to witness something innovative and relevant and “woke”, I momentarily cringed and thought, “I’m too old for this!” But I was wrong! Completely wrong. And for the many people who have asked me, “Can you write a good review for a show you don’t really like?” ; here is my answer. When the cast and the production team believe in what they are doing and do it to the absolute best of their ability…Yes, you can write a glowing review. When you are assaulted by the energy, the enthusiasm, the level of talent on display and the sheer sense of purpose of everyone involved, you can do little else but be carried along on the crest of a wave. Such was the journey that I made from the moment a very capable band blasted into action in the Black Box Theatre. 

What Director, Aisling Fox, managed to achieve with this production was to take a piece as vague and often challenging as American Idiot and present it in a coherent and dynamic manner. Apart from my concerns that the opening couple of scenes had so much movement that it took much concentration to pinpoint the focal point of the action, as the show progressed, it became sharp, poignant, and told with a fluid sense of purpose. Characters were well established and maintained throughout, but most importantly, the director understood the show and did all in her power to present it with authenticity. In this, she succeeded quite brilliantly. Her visions were also significantly enhanced by choreographers, Jodie Finn and Emily Smith, whose work was filled with energy, exuberance, and creativity. They treated us to angst and aggression, conflict, and confusion and even moments of sublimely sensual gyrations, all fused into a package that captured the time and the tempi of the era. As the show progressed, the choreography and the dramatic action seemed to fuse together so perfectly that it almost became a modern ballet. 

But great choreography can amount to very little if the execution does not do it justice, and in this instance, the company was blessed to have a chorus who provided the engine that drove this show forward. Their very appearance and their dance energy provided a non-stop attack on the senses, with a passion and aggression in their hard rock numbers that was like an homage to the whole punk era, and their drug-infused gyrations in the numbers led by St. Jimmy were graphically symbolic of a lost and confused generation. This was a top-notch display, enhanced by the fact that they were also very vocally capable. 

I am quite sure that vocal quality was the result of thorough rehearsal from Musical Director, Robert Cosgrove and his assistant, Rachael Moloney. Robert also kept good control of a very capable band of musicians who seemed to thoroughly enjoy the score, empathetic during the 

ballad-style numbers and hot on the tone and tempi of the rock numbers. My only qualms regarding the music were the drums, which, while brilliantly played on occasion overpowered one or two of the female vocalists, and while the vocal quality of the main characters was 

consistently good, one or two of the supporting players perhaps needed a bit more attention with their tuning. 

Perhaps the problem with the drums might have been overcome with a slight boost to the female radio mics, from a sound system that was, in all other respects, very efficient and well-cued, including the several recordings and effects. The lighting for the show was also very impressive, with effective use of colours and specific areas. While every scene had a strong atmosphere, there were one or two occasions when principals were in a tad too much shadow, but generally, this was a well-lit production. The set was more adequate than outstanding, but it functioned well, with several levels and areas and just about enough props and furniture to create the right ambiance for each scene. There were not too many moving pieces, making life comfortable for Stage Manager, Andrew Richardson, who kept the action rolling with tidy, if occasionally unhurried, scene changes. 

Excellent work was done on both the costuming and the make-up for the show. As mentioned earlier, the chorus were visually perfect, dull, and dark, punk and gothic, sometimes even disturbing in their countenance, but all appropriate and authentic to the era. I did not much like the gym outfits of the army recruits, but those aside, there was enough colour and variety to keep the show interesting. Make-up was excellent. This team could have done a good job on Bambi Thug! They certainly made St. Jimmy as dark and despicable as his character deserved. 

The outstanding individual performance of the night came from Mike O’Sullivan in the role of Johnny, convincingly seduced, as he was, not only by girlfriend, Whatsername, but also by the embodiment of Heroin addiction, St. Jimmy. Mike’s likeability only served to enhance the tragedy of his addiction, and while his fine acting made a strong impact, it was the sublimely mellow and beautiful quality of his vocals, particularly in When It is Time and Wake Me Up When September Ends, that stole the show for me. 

Killian Cogan gave a very good performance as Tunny, who, with patriotic notions, enlists in the military and loses a leg during the Middle East conflict. (A leg which, incidentally, made an unscheduled appearance when he was first rolled on in a wheelchair!) His relationship with Extraordinary Girl was very well-realized, both in their delightfully choreographed dream-ballet and in their real-life affection for each other. 

Mark Shivnan also gave a highly commendable performance. As the apathetic, beer swilling, reluctant father, Will, this is probably the least glamorous of the three central characters, but he played it with depth and understanding. 

These three together made a very strong team, both dramatically and musically, where their voice blended most effectively. 

Aoibh Tully, as Whatsername, was seductive and passionate, and as good a mover as she was an actress, but it was her vocal tenderness in 21 Guns and a powerful rendition of Letterbomb that were her stand out contributions to the show. A very strongly portrayed character. As Will’s girlfriend, Heather, Eimear Wolohan moved seamlessly from loyal, loved up girlfriend to distraught and deserted mother, and back to a loving and forgiving friend with complete believability and a sincere vocal quality. Nicely played. 

Éadaoin Collins, Extraordinary Girl, displayed some extraordinary terpsichorean skill in her ballet with Tunny, as well as delighting with a warm performance and secure vocals. 

Eoin Cassidy really crawled under the skin of St. Jimmy, and made my skin crawl, by creating a truly loathsome character, repugnant to the eye and to the senses, and I totally mean that as a compliment. Less successful, on a few occasions, was his tuning, which was a tad erratic, but it did not detract too significantly from a character very well played. Another whose tuning needed tweaked a bit was Cian Hughes as Favourite Son, even though he did cut a fine figure of a man in his role with very secure acting. 

Abbie Lane played a rather alternative Rock n’ Roll Boyfriend with unrestrained relish, good vocals and, not surprisingly, given her role as Dance Captain, excellent dance ability. There were several soloists who all made a strong contribution to the show, whether as individuals or as members of the ensemble. 

The atmosphere of inclusiveness that pervaded this entire production was encapsulated in the seated, picture-postcard company performance of “The Time of Your Life” at the very end of the show. It was beautiful. They certainly all seemed to be having the time of their lives, and so did we, the most appreciative audience. Dare I say that you did enough to almost turn this cynic into a Green Day fan? Yes, I dare. Thank you to all concerned for a quite excellent experience. 

Peter Kennedy

Gilbert Adjudicator 2023 / 2024