[NEohioPAL] Berko review: BLOODY BLOODY ANDREW JACKSON @ Beck

[Roy Berko]

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 BLOODY BLOODY ANDREW JACKSON rocks at Beck



Roy Berko

(Member, American Theatre Critics Association)



Several weeks ago a study listed George W. Bush among the worst presidents
of the United States.  Also on that list was Andrew Jackson.  However, in
contrast to Bush, Jackson was also on the roll of the best presidents.  That
dichotomy is well noted in BLOODY BLOODY ANDREW JACKSON, now rocking the
Studio Theatre at The Beck Center for the Arts.



Jackson, known as the common man’s President, unified the country.  He did
so through a bloody reign of terror in which he slaughtered and dealt
devilishly with his hated enemies:  the Indians (who killed his parents),
the British, the Spanish and the Washington politicians.  He was a drunk,
bigamist, and undisciplined man.  He has sometimes been noted as the
American Hitler due to his maniacal obsessions.



After being denied the presidency by the Supreme Court after winning the
popular vote, in an incident similar to the Bush-Gore saga, Jackson became
possessed.  Four years later Jackson founded the Democratic party and could
not be denied.   He took over the White House, opened its doors to the
multitudes, turned the lawns into grazing areas for livestock, and
generally ruled in organized chaos.



BLOODY BLOODY ANDREW JACKSON, as written by Alex Timbers, with words and
music by Michael Friedman, is an audacious, irreverent rock musical which
was a hit off-Broadway, and paints the picture with modern references,
including the presence of electronics (cell phones, Ipads, head sets), lots
of hard rock music, imaginative if not always accurate historical
references, and lots of swearing, blood and guts.  Though there are some
weaknesses in the script, the production more than compensates for that.



Director Scott Spence puts aside all inhibitions and gives free range to
filling the stage with visual and audible pyrotechnics.



Choreographer Martin Céspedes uses the foot stomping dance moves of the
prairie as the basis for his creative choreography.  Like Jackson himself,
the dancing is not coordinated, but a creative use of impromptu movements.
Céspedes incorporates a sequence of dynamic fight moves, has the musicians
high stepping, and creates a dervish of visual treats.  The song *The
Corrupt Bargain* leaps off the stage.



Larry Goodpaster and Dennis Yurich’s musical direction is the foundation on
which the production is built.  The band, Yurich, Ingrid Lang and Jason
Giaco, supported by various cast members, is musically dynamic.  They would
have made a great rock concert in and of themselves.



Trad Burns’ set design, an amalgamation of old suitcases, picture frames,
newspapers, guns, and levels, creates the perfect working space for the
actions.



The cast is multi-talented.  At one point all of the assemblage plays
guitars, sings and dances, with proficiency and abandonment.



Dan Folino, in the title role, is nothing short of perfection.  He sings
with full voice, his rock style is well honed, he creates a clear
character, and transitions well between segments.  It’s worth seeing the
show just to experience the Folino magic in action.



Hester Lewellen is a hoot as the old lady storyteller, zipping around the
stage in a battery operated wheel chair.  Trey Gilpin is delightful as a
fey Martin VanBuren.  Chris McCarrell, playing one mean guitar, displays a
great vocal in *Second Nature*.  Gilgamesh Tagget has some great moments as
the Indian chief, Black Fox.  Elliot Lockshine is endearing as Lycoya,
Jackson’s adopted Indian son.  The chorus is vocally and performance
strong.



*CAPSULE JUDGEMENT:  Though not for everyone due to the pounding music and
uncensored language, BLOODY BLOODY ANDREW JACKSON, is one exciting and well
conceived show.  In my mind, it’s a sure MUST SEE!*

BLOODY BLOODY ANDREW JACKSON is scheduled to run through JULY 1 at Beck
Center for the Arts.  For tickets and information on the possibility of the
run being extended, call 216-521-2540.


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