Review- Bloody Bloody Andrew Jackson

In a recent article already proclaiming the death of the 2011 theater season, Michael Riedel took a shot at the Broadway transfer of Bloody Bloody Andrew Jackson, sarcastically wondering if the audiences "flocking to American Idiot" would buy tickets for Broadway's newest rock-emo musical, currently playing previews at the Bernard Jacobs theater. While it is true that American Idiot has struggled to find an audience on any week Billie Joe Armstrong hasn't been onstage, there is no denying that Andrew Jackson is not only a superior production, but it's also the smartest, most outrageous, and entertaining musical of the year.

How could a rock musical about the country's seventh president and founder of the democratic party be relevant to 2010? The answer is simple... in every way imaginable. Jackson energized a country that had lost faith in it's government, campaigning as the ultimate revolutionary rock star, engaging voters that felt like their voices didn't matter, and riding it all the way to the White House. And while Alex Timbers direction makes you believe you are watching an almost South Park-esque parody of the American Political system, the tone eventually changes, particularly when Jackson is unable to live up to the "agent of change" expectations after taking office. Tough choices are made, promises are broken, and he ultimately gets swallowed up by the machine that is American politics. While the obvious parallels to Barack Obama are evident throughout the first two thirds of the show, we learn through Jackson's journey that even the most well intentioned politician has to have a little "W" in him to get things done.

Make no mistake, Bloody Bloody Andrew Jackson will not be for everyone. It is far more authentic than American Idiot in it's emo roots. Green Day fans are treated to the majestic red curtain and beautiful interior upon their entry to the St James theater, a sign that they are getting Broadway's sanitized, cleaned up, classier interpretation of a rock concert. Jackson fans walk into a theater that is part rock club, part museum, part taxidermist's office (an upside down, stuffed, horse hangs over the audience's heads). Justin Townsend's fantastic lighting design immediately gives off more of a grimy rock club than a Broadway theater. The older patrons around me were less put off by the experiential production aspects and more offended by the excessive swearing and graphic language that persist throughout the one act show. Perhaps they weren't aroused by Andrew Jackson offering to "stick it in" each and every female in the audience.

For those looking for a catchy score of familiar music, Jackson is not going to provide it. Normally, that would be a disaster for a new musical, but Jackson isn't a "music" show, it's a "thinking" show. You will be more apt to discuss our nation's irrational desire to place politicians on pedestals than hum a song from the show on the way out the door.

As the title character, Benjamin Walker oozes charisma and commands the stage. His singing voice is a little thin in it's upper register, but in a show where the music takes a backseat to the subversive humor, it's never a problem. He's also surrounded by a terrific ensemble of performers including Kristine Nielson as the much abused storyteller, and the hilarious Jeff Hiller stealing scenes in multiple roles.

While there are no obvious problems onstage with Andrew Jackson , it does appear that there are big financial issues plauging the show behind the scenes. The Public Theater's preoccupation with their upcoming Al Pacino led Merchant of Venice has prevented them from raising their portion of the 4 million dollar budget. Rumors persist that they are now offering $150,000 of shares in Merchant in exchange for a $250,000 investment in Jackson. Ultimately, it could mean a brief run for Broadway's first "must see" musical since Next to Normal.

Grade- A+