IT’S GOOD TO BE THE PRESIDENT
Do you want fearless? Decadent? Devil-may-care? Then look no further than the musical Bloody Bloody Andrew Jackson, a thrilling collaboration between book writer Alex Timbers and composer and lyricist Michael Friedman. In it, Andrew Jackson’s rise to, and maintenance of, the presidency is as sexy and as raw as you never thought it could be. Reflecting both his immaturity and cruelty during his term, this production boldly comes before “Old Hickory’s” throne to give you a no-holds barred account of how hatred and loss fueled his fire for uniting the states.
Left broken after his family is wiped out from war and disease, Jackson (Benjamin Walker) finds therapy and wholeness in trouncing Native American tribes, taking on slaves, and hating the British and Spanish while expanding American territory. And in between massaging politics to fit his emotional agenda, he massages the law by committing bigamy with his already-married wife, Rachel. But he’s not all bad.
Despite his questionable methods, Jackson is not completely demonized in this show. With an alluring posture and tight jeans that Walker fills out well, Jackson may sometimes be egotistical, but he’s also a war hero transformed here as an emo-rocker (with the emphasis on the emo). He sincerely tries to do right by his country while establishing democracy. He also adopted tons of kids, including Native American Lyncoya (Cameron Ocasio)! Through Walker’s layered performance, the audience is able to see that the weighty decisions that a politician makes are seldom between right and wrong, but rather between two warring evils. And sometimes cabinet members and friends don’t help.
Presented as nincompoops in varying degrees, figures like Martin Van Buren (Lucas Near-Verbrugghe), John Quincy Adams (Jeff Hiller), John C. Calhoun (Darren Goldstein) and Henry Clay (the frothy-mouthed Bryce Pinkham) are entertaining caricatures, but their uselessness, at least from the perspective of the show’s creators, is clear.
Yet, as powerful and as influential as he was, Jackson needed help to lead the people. And as magnetic as Walker is, Bloody Bloody is rounded out by an amazing ensemble cast. As much as there is to take in from Donyale Werle’s brilliant, hunting-heavy scenic design (where American Indian is synonymous with animal), your eyes are kept peeled by the cast. And they do it all with patriotic tats and glam gear, not petticoats and wigs.
Non-traditional but exciting through and through, Bloody Bloody Andrew Jackson may be offensive, particularly in its portrayal of Native Americans, but its honesty is unparalleled, gutsy and refreshing. History never seemed so vivid, and in light of the elections that are just around the corner, presidents never seemed so brave.
photos by Joan Marcus
Bloody Bloody Andrew Jackson
Bernard Jacobs Theater, 242 West 45th Street
for tickets, call 212.239.6200 or visit Telecharge
ends on January 2, 2011 (120 performances)
BLOODY BLOODY ANDREW JACKSON by Alex Timbers and Michael Friedman – Bernard B. Jacobs Theatre – Broadway Theater Review
IT’S GOOD TO BE PRESIDENT
Do you want fearless? Decadent? Devil-may-care? Then look no further than the musical BLOODY BLOODY ANDREW JACKSON, a thrilling collaboration between book writer Alex Timbers and composer and lyricist Michael Friedman. In it, Andrew Jackson’s rise to, and maintenance of, the presidency is as sexy and as raw as you never thought it could be. Reflecting both his immaturity and cruelty during his term, this production boldly comes before “Old Hickory’s” throne to give you a no-holds barred account of how hatred and loss fueled his fire for uniting the states.
Left broken after his family is wiped out from war and disease, Jackson (Benjamin Walker) finds therapy and wholeness in trouncing Native American tribes, taking on slaves, and hating the British and Spanish while expanding American territory. And in between massaging politics to fit his emotional agenda, he massages the law by committing bigamy with his already-married wife, Rachel. But he’s not all bad.
Despite his questionable methods, Jackson is not completely demonized in this show. With an alluring posture and tight jeans that Walker fills out well, Jackson may sometimes be egotistical, but he’s also a war hero transformed here as an emo-rocker (with the emphasis on the emo). He sincerely tries to do right by his country while establishing democracy. He also adopted tons of kids, including Native American Lyncoya (Cameron Ocasio)! Through Walker’s layered performance, the audience is able to see that the weighty decisions that a politician makes are seldom between right and wrong, but rather between two warring evils. And sometimes cabinet members and friends don’t help.
Presented as nincompoops in varying degrees, figures like Martin Van Buren (Lucas Near-Verbrugghe), John Quincy Adams (Jeff Hiller), John C. Calhoun (Darren Goldstein) and Henry Clay (the frothy-mouthed Bryce Pinkham) are entertaining caricatures, but their uselessness, at least from the perspective of the show’s creators, is clear.
Yet, as powerful and as influential as he was, Jackson needed help to lead the people. And as magnetic as Walker is, BLOODY BLOODY is rounded out by an amazing ensemble cast. As much as there is to take in from Donyale Werle‘s brilliant, hunting-heavy scenic design (where American Indian is synonymous with animal), your eyes are kept peeled by the cast. AND they do it all with patriotic tats and glam gear, not petticoats and wigs.
Non-traditional but exciting through and through, BLOODY BLOODY ANDREW JACKSON may be offensive, particularly in its portrayal of Native Americans, but its honesty is unparalleled, gutsy and refreshing. History never seemed so vivid, and in light of the elections that are just around the corner, presidents never seemed so brave.
cindypierre @ stageandcinema.com
photos by Joan Marcus
open run at time of publication
for tickets, visit http://www.bloodybloodyandrewjackson.com
