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Inside the Mark Taper Forum in downtown Los Angeles on a recent Wednesday, the air was saturated with stage fog and preshow jitters. The first performance of a revival of Green Day’s “American Idiot” was just hours away, and the choreographer Jennifer Weber had some final instructions for the cast members, who were wearing their costumes — combat boots, eyeliner, enough artfully ripped jeans to fill a Hot Topic — while they ran through dance movements onstage. Weber, microphone in hand, sang the song “Homecoming” as she demonstrated choreography:

“What the hell’s your name?/What’s your pleasure, what is your pain?”

An American Sign Language interpreter, Maria Cardoza, stood alongside the actors, signing Weber’s directions. At one point, Colin Analco, the show’s ASL choreographer, was slipped a small flashlight to illuminate Cardoza’s signing motions under the din of the fog and ambient lights. Weber kept singing, then started counting the beats:

“‘Blew his brains out’ … one! … two! … three! …”

Around the theater, about a dozen other conversations, some in spoken English and some in sign language, were happening among the cast and crew. Their show is the latest interpretation of a set of songs that have had many lives: After all, “American Idiot” is many things. It’s an album that monopolized alternative radio in 2004, but also a present-day staple of nostalgic streaming playlists. It’s a time capsule of Iraq War-era political disillusionment, and a distillation of timeless teenage angst. A musical adaptation of the album debuted in 2009, and made its way to Broadway in 2010. Now, this revival of that show is proving, with gusto, that “American Idiot” can be yet another thing: a near-scientific study of the innumerable ways to give somebody the finger.

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transcript

Landen Gonzales (signer, on the right) and Brady Fritz (singer, on the left) perform an excerpt from “Jesus of Suburbia.”

At the center of the earth in the parking lot of the 7-11 where I was taught the motto was just a lie. It says, “home is where your heart is.” But what a shame ’cause everyone’s heart doesn’t beat the same. It’s beating out of time. City of the dead at the end of another lost highway. Signs misleading to nowhere. City of the damned.

Landen Gonzales (signer, on the right) and Brady Fritz (singer, on the left) perform an excerpt from “Jesus of Suburbia.”

Or at least how many different ways the human body can be used to convey the emotions behind a raised middle finger. The production, which opened Oct. 9 and is running through Nov. 16, is a collaboration between the nonprofit Center Theater Group and Deaf West Theater, a Tony Award-winning company that stages plays and musicals that blend American Sign Language with spoken English.

The cast includes both Deaf and hearing performers. Certain lead characters are played by two people at once — one Deaf actor who primarily communicates using sign language, and one hearing actor who sings and talks in spoken English. It’s a well-established method for producing work for audiences of Deaf and hearing people. Deaf West has specialized in it for decades. But as one might expect, “American Idiot,” a fast-paced, loud pop-punk musical filled with wordplay (“alien nation,” for instance) and four-letter words, presented the artists with some novel challenges.

An Idiosyncratic Musical

Built around rock songs that were not written for the stage — among them “Boulevard of Broken Dreams,” “Wake Me Up When September Ends” and the title track — the “American Idiot” musical is almost entirely sung through, with little dialogue. Its book was written by Green Day’s frontman, Billie Joe Armstrong, and the Broadway director Michael Mayer. Its story, about three teenage misfits named Johnny, Will and Tunny whose lives diverge, is primarily conveyed through the staging.

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