Musical Theatre / American Idiot, Queanbeyan Players. At The Q, Queanbeyan, until June 29. Reviewed by BILL STEPHENS.

Queanbeyan Players are experiencing a purple patch with their run of impressively staged musicals. 

This production of the Tony Award winning, virtually sung-through, punk rock musical American Idiot is an outstanding addition to that list. 

The show covers much the same ground as Rent, recently seen in the Canberra Theatre, in that it concerns three disaffected young men who flee a stifling suburban lifestyle and parental restrictions. 

Will (Zac Izzard) stays at home to work out his relationship with his pregnant girlfriend, Heather (India Cornwell). Johnny (John Whinfield ) and Tunny (Darcy Kinsella) look for meaning in life and try out the freedom and excitement of the city. 

Tunny quickly gives up on life in the city, joins the military and is shipped off to war. Johnny turns to drugs, discovers a part of himself that he dislikes, has a relationship with Whatsername (Shelby Holland) and experiences lost love.

Their story is told through songs from the catalogue of rock band Green Day, which features lyrics by that band’s lead vocalist/guitarist, Billie Joe Armstrong, that range through head-banging anthems to tender love songs. 

Although more aggressive than Rent, this extraordinary production by Queanbeyan Players loses nothing in comparison, mainly due to the inventive direction by first-time director Bradley McDowell, who’s announced himself as a director to watch with an in-ya-face production that sizzles with energy and flair from start to finish.

There’s ripper choreography by Nathan Rutups, who eschews dance steps for evocative moves that express emotion and advance the storyline; and extraordinary costumes by Sammy Marceddo, which are absolutely spot-on, whether they’re raunchy theatrical punk rock or Broadway red-white-and-blue glamour. 

Then there’s Kyle Maley’s spectacular scaffolding setting which takes up every inch of the Q’s large stage to provide plenty of space for Rutups’ dazzling choreographic spectacle, and even allows the audience opportunity to glimpse the red-hot band assembled by Jen Hinton and Brigid Cummins, and the five pit singers who add lustre to Tom Kitt’s superb musical arrangements.

But mostly it’s the totally invested performances by the large cast that set this production apart. This is such an ensemble show in which every cast member gives their all, that to mention individuals seems churlish. 

Yes, some of the language is coarse, but appropriately so, and even if you’re not into punk rock, or have never heard of Green Day, there are some lovely ballads to be discovered, and a story that although totally predictable is ultimately uplifting. What more could you ask from a night in the theatre?