The Birth of Green Day's "American Idiot" Musical

Punk rock takes a giant step closer to the Great White Way on September 4th when the Berkeley Repertory Theater in Berkeley, California — located a short drive from the 924 Gilman Street Project, the legendary all-ages hardcore club where Green Day made its bones — premieres American Idiot, a musical-theater adaptation of the band's 2004 album. The production is directed by Michael Mayer, who won a Tony Award for the Broadway rock-musical hit Spring Awakening, and runs through October 9th.

During the interviews for Rolling Stone's recent Green Day cover, singer-guitarist-songwriter Billie Joe Armstrong chatted about the impending production — and the shock of hearing someone else sing those songs. A week later, Mayer spoke to RS about the theatrical Idiot, Green Day's influence on Spring Awakening and Armstrong's instant recall of old Broadway showstoppers.

Billie Joe Armstrong

When did the notion of doing American Idiot as a musical first come up?
American Idiot is a rock opera. But I was very self-conscious about it. I didn't want it to come across as pretentious. Someone said, "What is the influence?" I said, "This record has more in common with Rocky Horror than Leonard Cohen." [Laughs]

The idea was, "Wouldn't it be great to make a film out if it?" Then the film idea fell through the cracks, which was a bummer. The enthusiasm got lost. Then the guy from Spring Awakening, Michael Mayer — he was doing an interview. Someone asked him what he wanted to do next, and he said he'd love to do the musical of American Idiot. One of the kids from the fan sites put that up. And a year and a half later, lo and behold, we get a call from him.

What did you think of Spring Awakening once you saw it?
I was floored. It was so uncharacteristic of what I thought theater was supposed to be. I had no idea what to expect and how unconventional Michael was, in the way he directed this old German play from the turn of the century.

When I saw the show, I kept thinking that a couple of the songs — "Totally Fucked" and "The Bitch of Living" — sounded a lot like Green Day hits. They had that sound and emotional resonance.

"Totally Fucked" — I remember seeing that and going, "Did I write that?" It reminds me of "St Jimmy" [on American Idiot]. You forget how talented those people are, these theater kids. They are completely, mind and body, involved in the theater, just as much as I lived punk rock. They embody the whole thing. Then I went to a workshop [for American Idiot], and I couldn't fucking believe it. It's incredible — all those voices singing your songs at you.

It is a risky proposition — making a musical out of a record that already succeeds on its own and when you perform it in concert. This takes it out of your hands.
Which is a good thing, especially after seeing what Michael did. There's no intermission. It's just blasting straight through for 75 minutes. It's not a long play. He stuck to the spirit of the record, which is pulverizing.

Like the show I saw you play last night.
Right!