From the moment I walked into the Station Theatre, I knew Bloody Bloody Andrew Jackson was going to be a different kind of musical. With a rollicking rock score by Michael Friedman (who also penned the lyrics) and a witty, sardonic book by Alex Timbers, Bloody Bloody places our nation’s seventh president center stage, and asks the question, “Is popularity reason enough to elect the president?”
The show was originally an underground hit Off-Broadway in 2009, and subsequently moved to Broadway in 2010, closing after only 120 performances, despite mostly positive reviews. The Station Theatre’s production is its premiere in the Champaign-Urbana area.
Bloody Bloody opens with Corbin Knight-Dixon’s Jackson encouraging the audience to get their “rock” on, and with a resounding power-chord, the talented band and ensemble cast launch into the energetic “Populism, Yea, Yea!” — a rock anthem with sarcastic lyrics such as “And we’re gonna take this country back / For people like us / Who don’t just think about things / People who make things happen. / Sometimes with guns / Sometimes with speeches too.’’ The enthusiasm and fun exhibited by the cast is infectious, and we the audience cannot help but rock out with them. Under the skilled direction of Mikel L. Matthews, Jr., Bloody Bloody paints a satiric picture of Jackson (or “Old Hickory”) as a whiny yet charismatic individual who rises from humble Tennessee beginnings to become “The People’s President.”
An amalgamation of fact and invention, Bloody Bloody tells the story of arguably the most controversial American president. Jackson has been called both a “hero” and an “American Hitler;” he fought the English and Spanish, but also massacred several thousand Native Americans, ultimately leading to the signing of the Indian Removal Act that started the Trail of Tears. Jackson addresses the native inhabitants, stating, “We saw it. We wanted it. And frankly, it was easier to believe that it was ours.”
Much of the success of this musical depends upon the casting of its title character, and Knight-Dixon does not disappoint. His Jackson is charismatic and likeable — a rock star of a president who manages to get the audience on his side in the first few moments of the show. Portrayed with cheeky humor, Knight-Dixon’s Jackson is driven by spoiled-brat ambition and sexuality: “I’m gonna fucking shit all over you guys with my brand of maverick, egalitarian democracy,” he declares, and the people love it.
Luckily, Knight-Dixon does not have to carry the show alone, as Matthews has assembled a talented cast who deftly attack the challenging punk-rock score. The ensemble navigates the show’s ninety minutes of non-stop frenetic energy, exhibiting an in-your-face attitude that is supported by Whitney Havice’s fist-pumping, fun, and spirited choreography. Special mentions must go to the highly comedic James Haas as Martin Van Buren, as well as the wonderfully talented Sidney Germaine, who commands your attention every time he is onstage. Brittany Helfrich’s Storyteller is the perfect combination of fangirl and history nerd, and her irrepressibly perky narrator acts as a gleeful annoyance to Knight-Dixon’s Jackson, who is frustrated by the nature of his own legacy. Finally, Laura Anne Welle steals the show with her hauntingly creepy rendition of “Ten Little Indians.”
Led by Bandleader and ensemble member David Butler, the explosive rock score is superbly performed by the onstage band. The potential difficulty with rock musicals is that the band will overpower the singers, but through a successful collaboration between the band and Musical Director David Barkley, the mix was fantastic.
I have attended several productions at the Station, and a chief directorial challenge is in utilizing the relatively small playing space well. Matthews manages to create several different spaces for action to occur, and since the musical playfully addresses the audience directly, the intimacy of the space actually facilitates bringing the spectator into the story. Matthews also has a definite flair for comedy, and he has peppered his production with memorable moments that will have you laughing. One of these moments is the battle with the Spaniards, which begins like a scene from West Side Story, but quickly becomes an uproarious interplay between performance, props, and sound effects.
Matthews has also assembled an excellent design team whose work further supports the musical’s rock aesthetic. Costume Designer Thom Schnarre created various punk-rock looks for the performers, including Knight-Dixon sporting a military style coat with anachronistic buttons. Samuel Kearney’s lighting design transforms from naturalistic to rock concert, depending upon the scene, and Jennifer Petagno’s creative scenic design, sets the mood with a gritty, Blues Brothers-style cage that encloses the band. The use of projections that provide hilarious “Jackson trivia” assist in establishing a funny, irreverent look at the man on the twenty dollar bill.
Aside from Katarina Spungen’s (Jackson’s wife, Rachel) gorgeously poignant “The Great Compromise,” the production tends to falter in its more somber moments, such as when Jackson executes his near-genocidal policies toward Native Americans, despite having adopted a Cherokee boy as a son. Regardless, Bloody Bloody’s strengths categorically outweigh any missteps.
There are some musical theatre purists who think rock music should go away and leave their beloved genre alone. For others, myself included, rock music is a natural vehicle to tell stories for a new generation. If you are looking for a musical that exhibits a certain amount of swagger, has a frenzied pace that rarely lets up, and delivers on hilarity, then Bloody Bloody Andrew Jackson promises to give you a great ninety minutes of non-stop entertainment.
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Please note that there is strong language throughout the production. Great fun for adults; not so much for the kiddies.
The production continues January 23 though 27, and January 30 though February 2. For reservations, call (217) 384-4000 or reserve online.
Photos courtesy of Smile Politely’s own Thom Schnarre.