Sign language and social media: Green Day’s ‘American Idiot,’ reimagined for 2024

As a theater enthusiast and someone who has witnessed numerous productions, I must say that the upcoming collaboration between Center Theatre Group and Deaf West Theatre, titled “American Idiot,” is truly a breath of fresh air. Having followed their previous collaborations since 2003’s “Big River,” I can confidently assert that this production is not just about blending dance, sign language, and storytelling – it’s about breaking barriers and creating a more inclusive theatrical experience for all audiences.

In the musical “American Idiot,” there’s a moment when Will, preparing to embark on city life with friends, learns unexpectedly that he will be a father. This news forces him to stay in their suburban hometown instead. As expressed through the song “Give Me Novacaine,” Will experiences a mix of feelings: trapped, agitated, and yearning for an escape – a complex emotion that’s challenging to depict on stage.

Could it be that audiences attending the upcoming Los Angeles revival of the Green Day musical will witness Otis Jones IV, seated on a couch with evident frustration in his signed expressions, and James Olivas moving around frantically while vocally expressing the ballad with palpable anxiety? The two actors – one Deaf, one hearing – portraying Will in the production, seem to delve deeper into the intricacies of this particular scene than ever before, through their combined performances.

“We all know the feeling of having multiple voices in your head and feeling like they’re really pulling you in different directions,” said choreographer Jennifer Webster.

What we’d like to delve into is understanding these characters deeply, and how best to employ various languages throughout their journey in this narrative. In other words, we aim to capture their emotions accurately at every stage of the story using our diverse linguistic resources.

As a follower, I’m thrilled to be part of the audience for the groundbreaking presentation of “American Idiot” at L.A., happening from October 2nd to November 10th. This unique collaboration between the Center Theatre Group and Deaf West Theatre signifies the reopening of the Mark Taper Forum after a year’s break, marking the first full season under the leadership of our new CTG Artistic Director, Snehal Desai, and also his directorial debut with CTG. The fact that this production coincides with the 20th anniversary of the politically charged punk rock album and a significant presidential election is no mere coincidence.

“Desai shared with The Times that this particular play is unlike any other, and even for those who have watched it previously, this version offers a significantly fresh perspective.”

Although it might not appeal to everyone, I encourage people to give it a try since, given the unprecedented intensity of current events and another crucial election approaching in our nation, it’s vital that we find an escapade this autumn where we can gather together, share experiences, and express ourselves.

In collaboration, Otis Jones IV and James Olivas portray the character Will in “American Idiot,” as reported by Jason Armond of the Los Angeles Times.

It’s fitting that this production of “American Idiot” is daring and relevant, considering its original context. The musical, drawn from Green Day’s 2004 album with the same title, was a significant leap itself: a thematic album portraying a frustrated, lower-middle-class teenager growing up during an era marked by George W. Bush’s presidency, the September 11 attacks, and the Iraq War.

In 2004, singer-guitarist Billie Joe Armstrong, a member of Green Day alongside drummer Tré Cool and bassist Mike Dirnt, expressed his sentiment to The Times: “I believe everyone is puzzled about the climate now.” He was referring to the confusion that comes with being an American.

As a passionate fan, I can’t help but express my admiration for “American Idiot,” an album that made waves, both critically and commercially. It clinched Grammy Awards in the categories of Best Rock Album and Record of the Year (“Boulevard of Broken Dreams”). To this day, it continues to resonate deeply with millennials like me, standing as a symbol of its catchy anthems that echo our feelings of frustration and disillusionment. With over 23 million copies sold worldwide, its impact is undeniable.

As a child of Indian descent, brought up in the small town of Quakertown, Pennsylvania post-9/11, this album significantly impacted my life, Desai recounted.

“I repeatedly played this album as I felt left out; individuals who resemble me are just as American, yet we’re often viewed so disparately. This music resonated with the unease, anger, and powerlessness I was experiencing, while also fearlessly challenging what it truly means to be an American during such a tumultuous and frightening period in our nation’s past.”

In 2009, the stage version of the musical premiered at Berkeley Repertory Theatre, later winning Tony Awards on Broadway for an entire year. Unlike a traditional play, it told the story of three marginalized young men through 20 songs by Green Day, without any additional dialogue written into the script.

“Director Michael Mayer explained that the tale was intricate and vague to The Times previously. He likened it to opera because the pieces function like individual scenes, each carrying its own weight in conveying the story.”

The motifs of “American Idiot” strongly connect with the Deaf community, because as DJ Kurs, Artistic Director of Deaf West Theatre, put it, “we’ve spent our lives in a setting where it seems like the world often doesn’t pay attention to us and fails to grasp who we truly are.”

In the same vein as Green Day’s “American Idiot” forecasted, the impact of media on people’s lives today has become particularly significant within the Deaf community. This is due to the fact that social media serves as a crucial bridge for us to communicate with one another and engage with the broader world.

In the musical “American Idiot,” Daniel Durant portrays Johnny, while Mars Storm Rucker takes on the role of Whatsername. (Photo by Jason Armond for the Los Angeles Times)

Due to the advanced technology available for listening to music, such as captions on Instagram and Tiktok, powerful bass-boosting headphones, cochlear implants, hearing aids, and more, today’s Deaf community is creatively expressing themselves by posting videos of their American Sign Language (ASL) cover versions.

Jones shared, “Growing up in a hearing family made me feel quite isolated as someone who is Deaf. However, five years ago, I began sharing covers of R&B and hip-hop songs online. This unexpectedly led me to discover the Deaf community that I had been seeking and also connected me with an audience of hearing people I hadn’t realized was possible.”

In this “American Idiot” performance, covers using American Sign Language (ASL) will be used near the peak, enhancing accessibility for hearing-impaired viewers. This is achieved through displayed captions, live ASL interpretation, and amplified bass to sense the music’s pulses. Earplugs can be obtained if needed.

In the words of Desai, certain instances carry unique significance. He explains, “Those who understand sign language will grasp its essence; for those who don’t, it provides a window into the experience of being Deaf in a world that is perpetually communicating.”

Since “American Idiot” sets the narrative in contemporary times, footage from the original run featuring Former President Bush will be swapped with clips of different former U.S. Presidents during subsequent performances of the musical.

The musical now primarily focuses on three Deaf companions living in contemporary hearing society, making their narratives more compelling: How does one feel when dating someone who refuses to learn sign language? What implications might there be for a Deaf individual seeking military service, as they are still not allowed to enlist?

In most productions by Deaf West Theatre, significant roles were often shared between a Deaf actor and a hearing one, both portraying identical storylines or emotional aspects of a scene. However, in the musical “American Idiot”, which heavily relies on internal conflicts, the two actors performing the same role will frequently express different thoughts and feelings, sometimes even seeming at odds with each other, as demonstrated in the “Give Me Novacaine” sequence.

According to ASL choreographer Colin Analco, each of these three characters wrestles internally with the discrepancy between their expectations for their dreams and how their lives might transform as a result of a single choice they face.

In situations when individuals feel destructive towards themselves or dissatisfied with their current circumstances, we aim to delve into these aspects by blending dance and sign language. There’s no end to the ways we can employ movement as a means of storytelling in this context.

In “American Idiot,” the role of Tunny is played by Landen Gonzales. Meanwhile, Lark Detweiler is part of the cast and serves as the dance leader. (Jason Armond / Los Angeles Times)

During the entire performance, a team of twenty actors skillfully enact sign language. Approximately half of them are Deaf or hearing-impaired. Lark Detweiler, a Deaf actor and dance captain for the show, expressed her enthusiasm: “Seeing all the hearing actors learn sign language has been truly exhilarating.” She added, “It’s fascinating to witness their dedication in striving for accuracy.”

Pay close attention to the dance movements during the parts of the performance where there’s only instrumental music. As Webster mentioned, there are several instances in the ‘American Idiot’ score without lyrics. Our aim is to convey that sound through physical movements for our Deaf audience members, allowing them to visually perceive and enjoy the music alongside hearing spectators.

Kurs emphasized that it’s not about tricks or flashy techniques, but rather utilizing genuine resources to authentically breathe life into a revival. This involves reworking existing elements in innovative ways, and finding the most effective approach for every part of the narrative.

“The play ‘American Idiot’, which is currently being staged, marks the fourth time that Center Theatre Group (CTG) and Deaf West Theatre have worked together. This follows their previous collaborations in 2009 for ‘Pippin’, 2007 for ‘Sleeping Beauty Wakes’ and 2003 for ‘Big River’. Notably, ‘Big River’ later moved to Broadway, received two Tony Award nominations, and embarked on a national tour. The fact that ‘American Idiot’ is part of Desai’s inaugural season at CTG was, as he described it, a deliberate choice.”

As a movie reviewer, I’d put it this way: “In crafting my vision for our artistic journey, I felt it crucial to pay tribute to our roots within the Los Angeles theatrical community. This initial phase serves as a testament to the rich heritage and connections that have been forged before us.”

Besides wanting to steer us towards a fresh creative direction at CTG, he noted, “I felt it necessary to establish a platform for upcoming artists here. This performance serves as their debut in professional acting. Remarkably, one-third of our cast weren’t even born when the 9/11 tragedy occurred; this workshop represents their first professional venture. I am hopeful that this will signal a vibrant new era for CTG.”

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2024-08-29 13:34