author: Ryan J. Bordenski

Do you love angst and grunge fashion of the early 2000s? Do you love putting on layers upon layers of eyeliner? Do you love banging and bopping your head along to some punk rock anthems? Or, do you simply love Billy Joe Armstrong, and the rest of Green Day? If you answered YES to any of these questions, then you should head over to Silhouette Stages in Columbia for their latest production of Green Day’s American Idiot. Directed by Henry Cyr, assistant directed by Delaney Gregg, music directed by Virginia Moses, choreographed by Maddie Ervin, produced by Otega Okurume, and stage managed by duel efforts of Robin Blasberg and Dana Bonistalli, American Idiot is the visual (and highly catchy) representation of what it means to “fight the power.” This punk rock musical, set to what is arguably Green Day’s ‘magnum opus’ of a record, “American Idiot”, is a high-energy, high-emotions thrill-ride in response to the cataclysmic event in history that shook the nation and the world: 9/11.

The story follows three men: Will, Tunny, and Johnny, as well as their friends and acquaintances, through New York City and beyond, wreaking havoc and putting the middle finger up to government, society, and what have you. Along the way, the three boys realize things about themselves they didn’t know before, in a coming-of-age rock tale. Since the show itself doesn’t have a script (or rather very minute number of lines per character), the performers must rely on the emotionally evocative lyrics of Green Day’s songs, as well as visual storytelling, to bring this piece to life. Also, vocal endurance because holy cow! (It will be difficult to sit still for this one!)

The pre-show experience is something worth highlighting, as the audience is treated to the epitome of the late 90s-early 2000s, including famous Saturday Night Live clips, news coverage of G.W. Bush and Barack Obama and their presidential speeches and conferences, and, of course, the oh-so-catchy tunes of Schoolhouse Rock. It is important for a show to transport you back into the time period to really set the scene, and Silhouette Stages did just that, to emphasize the satirical, and almost anarchical nature, of the production.

Costume, Hair, and Makeup Designers Zen Tabligan and Jaylyn Hess really bring out the best ‘grunge’ and ‘emo’ looks for the performers. You have Vans, skinny jeans, denim, leather jackets, rock-and-roll band t shirts, muscle shirts, beanies, mohawks… you name it, and it was there! If there was something that threw me off a little bit, it was that some characters’ makeup leaned a bit too “zombified,” and while I recognize some actors were depicting being “junkies” or under the influence of drugs and alcohol, I think the makeup could be approached in a different fashion. There were only a couple though, and the rest of the cast’s makeup looked incredible!

Lighting Designer Sammy Jungwirth, with the help of Light Board Operator Alyssa Wellman Houde, brings some outrageously cool moments of light that really elevate the show and emphasize the chaotic turmoil all the characters are facing. You’ve got smart use of red and blue to emulate the police, deeper hues of blue and purple when things slow down, chaotic swirls of color during the bigger pulse-pounding numbers, and an incredibly impressive moment during “Are We the Waiting” with the use of strobe lights to emulate the intensity of fighting on a battlefield. One element that did confuse me, however, was the lack of a spotlight. I am not sure if this is normal for the venue/company or what, but even when characters were out in the aisles during the performance, particularly when St. Jimmy was there by himself, there was no spotlight used.

Director Henry Cyr (who was also the Scenic Designer, Decorator, and Properties Designer), does fantastic work in his approach to staging, utilizing the entirety of the theatre (on-stage, aisles, side theatre entrances, etc.) to fully enclose us in the 2000s space. You can tell this is a major passion project for Cyr, and a nostalgic revisiting to a specific time in his life. There were many beautiful and intentional touches made by Cyr, like using set pieces to plan a big character reveal, the three main boys lined up with their respective backdrop panels at the end of the show when they’re “coming home again,” playing with varying levels of the stage, and much more. I especially loved the nods to current political endeavors that are used intentionally and to make statements, yet also continually puts us in the time period of the show, while alluding to current events. You’ll see graffitied words like ‘Melt Ice’, ‘Eat the R-,’ and during the titular song “American Idiot,” a lyric change to “not a part of a MAGA agenda.” These subtle but powerful moments were great, especially in a show that is legitimately all about making a statement, and throwing a middle finger up at society. If I have one minor suggestion, I found, at times, there were too many actors on the stage during some pivotally raw moments, where it could have been better to only see “The Core 3” (Will, Johnny, and Tunny), or perhaps use lighting options to change and emphasize focus.

The transitions and scene changes were smooth and well-executed, though I do think one or two less blackouts would be wise, to keep the fluidity of the story going. Cyr also plays a part in the visual projections which I thought were a nice touch for setting the scene and expanding the setting further than just what was on stage: you can see visual depictions of the New York City subway system, travel, and news headlines. One of the strongest moments for me personally from a props’ standpoint was the use of everyday objects and carpentry tools to act as guns in the war sequence, a really cool touch to avoid the use of firearms, prop or otherwise, in a production.

Music Director Virginia Moses does superb work not only leading the live pit, of which members are on the stage and one with the action, but also in getting some vocally powerful moments from the performers, particularly with very locked harmonies in “Holiday,” “Boulevard of Broken Dreams,” “21 Guns,” and “Whatsername.” Moses acts as the Conductor/Keys for the pit, with Jeff Eckart on Bass, Gabriel Schaffer on Guitar 1, Nate Royer on Guitar 2, Jen Retterer on Cello, and Daniel Czyz on Drums. (I particularly loved Czyz’s drum solo moments!) There were a few moments during this performance, however, where it seemed the musicians were not in sync or time with the performers. Timing is difficult when you are playing with a live pit, and there is no denying that, but I would’ve liked to have seen stronger cues from the band conductor. Overall, the sound of the band was fantastic, and I thought their volume was appropriate for the show and the space.

Typically, I find live pits, especially ones on stage with the performers, to be overpowering in volume, but this was not the case, so kudos to Kristy Lebiere for finding that leveled balance. There were moments, however, where levels of sound for the performers were not balanced as well. With American Idiot being nothing but songs, (and banger after banger), it is imperative for cues to be hit and anticipate what is coming next. It was unfortunate because everyone on the stage was giving it all they’ve got, but there were a multitude of lyrics, one-liners, and moments missed that interrupted some of the storytelling. This being opening night of the show, however, I think with revisiting and practicing some of the cues, these issues could be easily refined and polished. Everyone in the show has an important moment to share out, and we want to make sure each one gets captured! We also had numerous moments of “hot mics,” and shouting into the microphone to a point of harsh, fuzzy feedback; it was a bit disruptive but can be something easy to fix as they continue the run.

Choreographer Maddie Ervin does an outstanding job with her performers and playing to their dance abilities. The choreography is fresh, intentional, and clean. Once again, since there is no script for the show, the actors must rely on visual storytelling, utilizing body language, emotionally charged facial expressions, and, well, acting. They do just that. There are three or four featured dancers from the ensemble, and while not recognized in the program or their bios, deserve a shoutout for their incredible work during instrumental breaks, depicting various scenes, jarring movements, gorgeous dance lines, and interpretive movement to really hone in on that visual storytelling aspect of the show. The choreography was especially impressive during “Holiday” as all the characters and their individual stories are told through traveling via bus, with cool, intentional movement. I also LOVED the cannon layering of movement and finger-gun symbols that built to the climax of “21 Guns.”

While there aren’t too many scandalous or provocative moments in the show, I appreciate the work that Intimacy Coordinator Sarah Luckadoo achieves, mostly when Johnny and Whatsername are embracing and kissing. It feels natural, and it is clear the actors playing Johnny and Whatsername have strong chemistry, and having an Intimacy Coordinator is so important.

There is a powerhouse of an ensemble in this show, and while it is clear some were significantly stronger than others, everyone on that stage was giving it their all, and producing extremely infectious, high-energy moments, and that is means for celebration. I especially enjoy that everyone in the ensemble uses their name or a form of their given name, almost like they are playing a version of themselves, set in the era of the show. Scott Armiger, who doubles as Rock and Roll Boyfriend, has some fun moments, and really impressive tenor vocals, Ross Bollinger, who doubles as Favorite Son, (though seemed to struggle a bit with the vocals and timing in that number), but played the part well, Garrett Crouch, Shea Gardner, Patrick Gray (who opens the show with the iconic burst-into-the-room-dive-onto-the-stage energy for “Don’t wanna be an American Idiot!”), Rebecca Hanauer, Jonathan Hardin (featured dancer), Laura Hepp (featured dancer), Jacinta “Jay” McKinnon, Katie Quinn, Zen Tabligan, and Nick Yarnevich. I could really tell each ensemble member had a story to tell or personal journey they were on, and they really helped tell us what was happening, and where we were headed. When it came to the singing, some moments were overpowered and ‘scream-shouty,’ which was fine; I just hope that the performers are doing so in a healthy manner to protect their voices for this vocal behemoth.

Lily Arbaugh brings an almost ethereal approach to Extraordinary Girl, especially in her costuming. Her flowy green dress was giving major “Florence and the Machine” vibes, and she had some beautiful moments during her songs. Domenica “Minnie” Gregorini as Heather will break your heart into pieces, but also make you laugh when she returns later in the show for “Rock and Roll Girlfriend.” While Heather is not as featured of a part, Gregorini’s character reminds of the what-could-have-been in life, and that life is too short not to live life for yourself.

Geneva Croteau as Whatsername is incredibly strong and delivers some powerhouse vocals during songs like “Last of the American Girls/She’s A Rebel,” “21 Guns,” and especially phenomenal in “Letterbomb.” We see Whatsername mainly through the lens of Johnny and his love for her, but Croteau delivers this amazing ‘girl power’ interpretation on the role, and her vocal belt is incredible. I adore the chemistry and intimacy between Johnny and Whatsername, and while she doesn’t get a name in the show (intentionally), you will be remembering her performance for times to come.

Tyler White as St. Jimmy, the evil-incarnate and up-to-no-good alter ego of Johnny, will scare and shock and amaze you all at once. There is no denying White has impressive vocal chops and acting, but where he really shines is in his physicality, and the way he tells a story through his body movement. St. Jimmy is unhinged as Johnny’s worsening mental and emotional state continues on the decline, but between the running and jumping onto the stage, jumping off a platform into a split, pushing and shoving, and high leaps, White has the physicality of St. Jimmy down pat, and no doubt White will be drenched in sweat after every superfluous performance.

Ryan New brings wonderfully gentle touches to the character of Will, who is one of the Core 3 Boys. New really embodies the ‘sad boy hours energy’ Will has to convey, especially when unexpected news turns his life upside down. I can’t say enough how crisp and clean and smooth and pure New’s vocals are in “Give Me Novocain” and “Wake Me Up When September Ends.” His control on his voice is impressive, and he, too, will ‘break your little heart’ in two (IYKYK).

Portraying Tunny is Terin Kelsey, and all I have to say is WOW. Kelsey has Tunny’s character down, from him questioning his worth and purpose, to him not knowing what the answer is to fulfilling his life’s dreams. I personally think I was most impressed by Kelsey’s vocals the most out of the Core 3 Boys, only because there are some high tenor stratosphere notes that he executes in a gorgeous manner, and his voice never wavers once during the entire production. Though I questioned some of the chemistry between the Core 3 Boys at times, Kelsey as an individual brought the heat as Tunny, and seriously, those vocals were impressive.

Hereeeeeeee’s Johnny!! Playing the leading man, and a member of the Core 3 Boys, and THE Jesus of Suburbia, Maxwell Wolf leaves it all out on the floor (piles of sweat included) in his portrayal of Johnny. Wolf brings a beautifully chaotic and wildly unhinged effervescence to Johnny, from the moment he is introduced. Wolf’s physical acting is seriously impressive. Whether he is ‘cracking open a cold one with the boys,’ partaking in drugs with Whatsername, or simply narrating the story as we hear about the dates almost like diary entries, there is so much expression in everything he does. You even get to see him play a little guitar during slower moments of the show, which was tender, and his sotto voce mixed with falsetto, is breathtaking. Wolf’s chemistry with Croteau is palpable, much like the energy of this production, and I was captivated by every scene and moment they shared. Wolf packs a punch in his vocal prowess, yet has incredible dynamic range going from shout-singing to the tender moments. The way Wolf moves around on that stage is captivating too, though sometimes I did worry if he would lose his balance from all the crazy antics; alas, he did not! His facial expressions, body language, response to other characters, and choices feel intentional and well-executed, and he delivers an incredible portrayal in this leading role as Johnny.

The diversity of the cast is something worth highlighting, because when you are telling a story of events following 9/11, and for the themes depicted in the show, you must have a diverse cast to tell the story, and Silhouette Stages does just that. I think it is both important and considerate that a content advisory is included in the show’s program, and due to the severity of the content, viewer discretion is advised and is recommended for age 16+.

So, what are you waiting for?? Don’t be an “American Idiot” and catch this great production of the iconic rock opera, or you will “Know Your Enemy” soon enough. Also, who doesn’t love a great ‘kumbaya’ moment with everyone singing “Good Riddance (Time of Your Life)” to close out the show. You do not want to miss this high-octane musical event, as Silhouette Stages features yet another great show in their “Coming of Age” season.

Running Time: Approximately 95 minutes with no intermission

Green Day’s American Idiot plays through June 28^th 2026 with Silhouette Stages at Slayton House Theatre in the Village of Wilde Lake Columbia— 10400 Cross Fox Lane in Columbia, MD. For tickets please call the box office at (410) 216-4499 or purchase them in advance online.