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Billie Joe Armstrong to Write Songs for Yale Repertory Theater Show

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^ His and the band's idea of not overwhelming themselves with work amuses the heck out of me. This is their version of taking it easy. Ha!

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That's something Billie Joe wanted to do ever since American Idiot was on Broadway. I'm happy for him. He's reaching his goal. At the same time, it's funny. It's the punk musician «meeting» the master of classical theater, Shakespear. But I like the idea anyway.

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When I saw this headline on GDA I got a huge smile on my face. I think its really cool for Billie to be writing songs not related to any of the bands he's in. He's an excellent writer, and it makes me so happy that his talents are being recognized in this way. It sounds like a really awesome project - he's going to be interpreting Shakespeare! I'm so excited for him. :happy:

Something really different about this vs. American Idiot is that this will be brand-new music he's writing from scratch; it won't be doing again what I think was a much harder task last time he did a musical -- that is, adapting for the stage already-written music that was kinda-sorta-but-maybe-not-really intended for a stage show. I'd actually like to see him stay focused on the music (collaborating with Tom Kitt like Heather suggested would be ACE!) this time as opposed to attempting to do the whole book; I think his real talent lies with the music and professional stage script writers should be engaged to weave that music into a tight plot. That will distinguish this new work from what he did with American Idiot, be a more manageable task than AI was, probably have a greater chance of long-term success if the book ends up the better for it, and for fuck's sake it'll keep him out of New York City where he ALWAYS seems to find trouble too easily. :lol:

And it's Shakespeare he's doing for Chrissake!! If they get

this guy cast in the show to sing music written by Billie/Green Day it'll be a multi-year hit for sure!!

220px-Patrick_Stewart_Met_Opera_2010_Sha

This is utterly fantastic news. Like many of you I'm concerned about him overworking himself, what with a big tour ahead and there being something of a time crunch and outside pressure with this thing needing to premiere by next March, he would obviously have to have all the songs done well beforehand. I don't know how long things are typically in workshop/pre-production mode (especially for Yale Rep as opposed to other theaters) but this being something somewhat outside of Green Day's control, Billie Joe being hired on as the songwriter actually does put him in a position of "need to finish writing by X date." That being said, I'm sure Billie signed up for this because he read the story and got excited and felt creatively stimulated by it, so I'm sure he's going in with enthusiasm.

I think it's entirely possible Billie could find himself in this play one day, but even if he doesn't, I really love the credibility it gives him as a songwriter. It will be really interesting to see how these things are imagined without Mike or Tre? I guess it's not all that different, we've seen in Cuatro how Billie sits alone in his studio and records drums and bass tracks...

Also, if he can get Tom Kitt in there somehow... golden.

While I'm excited to see what comes from it, there's a part of me that doesn't want him to kick it right back into high gear and over-working himself. That said, music is his passion, and I'm sure he's happier working on something than sitting around. We are opposites.

I'm concerned about him overdoing it again as well...however, we also know that especially with Billie, idle hands are the devil's fucking playground. :lol: I'd much prefer to see him having a blast being creative again (and getting a second bite at the musical apple that he's been longing for ever since AIOB closed up shop!) than sitting around bored off his ass. Keep him busy -- not overloaded, just busy -- and creative, and maybe he'll be able to keep things in the rails this time.

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I'm concerned about him overdoing it again as well...however, we also know that especially with Billie, idle hands are the devil's fucking playground. :lol: I'd much prefer to see him having a blast being creative again (and getting a second bite at the musical apple that he's been longing for ever since AIOB closed up shop!) than sitting around bored off his ass. Keep him busy -- not overloaded, just busy -- and creative, and maybe he'll be able to keep things in the rails this time.

I think this will be a fabulous opportunity to get his creative gears flowing in a different direction. I delighted in seeing the subtle changes in his performances post-Broadway. It seems as though spending time with the awesome theatre geeks helped inspire much of the artistic thought that became the trilogy. I agree that as long as he doesn't get too overwhelmed, this will be a positive experience for all involved.
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Something really different about this vs. American Idiot is that this will be brand-new music he's writing from scratch; it won't be doing again what I think was a much harder task last time he did a musical -- that is, adapting for the stage already-written music that was kinda-sorta-but-maybe-not-really intended for a stage show. I'd actually like to see him stay focused on the music (collaborating with Tom Kitt like Heather suggested would be ACE!) this time as opposed to attempting to do the whole book; I think his real talent lies with the music and professional stage script writers should be engaged to weave that music into a tight plot. That will distinguish this new work from what he did with American Idiot, be a more manageable task than AI was, probably have a greater chance of long-term success if the book ends up the better for it, and for fuck's sake it'll keep him out of New York City where he ALWAYS seems to find trouble too easily. :lol:

My take on his deal with AI was that he basically had input - Mayer was staging the album as opera, and Billie Joe shot him some extra songs that were already written to expand it somewhat. This time, he's creating something new and purpose-built, and that to someone else's purpose - a riff off Shakespeare's original. It's cool because it will put him in another space, outside of himself, and there's a freedom to that, and a learning. So yeah they can go 'we need a song to express whatever from whatever character in whatever situation, and he can provide it - and maybe in the process, check out the origin, engage with Shakespeare.

All of it is steps to creating something that's wholly his own - the next thing. :)

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Is there anymore news?

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:dance: I have tickets to opening night.

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:dance: I have tickets to opening night.

You better write up a complete review (and film/tape anything you possibly can)!! Congrats and have fun!

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:dance: I have tickets to opening night.

When is it?

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This is exciting. Like new Green Day music!

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Never mind Broadway, or even off-Broadway — non-NYC theaters have got Sting, Jonathan Lethem, Lawrence Wright and Billie Joe Armstrong

4. These Paper Bullets (Yale Repertory Theater, New Haven, Ct., Mar. 14-April 5)

Another rock star who has had some experience on Broadway, Green Day’s Billie Joe Armstrong (American Idiot), wrote the songs for this oddball venture: a rock-n-roll take on Shakespeare’s Much Ado About Nothing, revolving around a fictional “fab four” group from Liverpool. Just how fictional remains to be seen. Rolin Jones (The Intelligent Design of Jenny Chow, TV’s Friday Night Lights) wrote the book for the show, from the enterprising Yale Rep, which has introduced the new work of playwrights ranging from August Wilson to Amy Herzog.


http://entertainment.time.com/2014/01/08/10-reasons-for-theater-lovers-to-leave-new-york-in-2014/

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Joe Cool @ElGatoDeFelix 2h

@AlexGulyan Billie Joe is speaking at SUNY Oneonta in a month for that new musical he wrote. You should purchase plane tickets asap

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Let's hope this doesn't turn out like Bono and Spider-Man :happy:

Spider-Man was a bad idea to begin with.

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So who went to this last night? Wake up people, I want fucking reviews!

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Spider-Man was a bad idea to begin with.

How so? I thought it was an awesome idea.

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Excellent review. Thanks so much for doing this and glad you enjoyed it.

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One of the slow songs called "Baby Blue" that Claude sang to Higgy reminded me of When it's time and Last Night on Earth. It sounded like it was something that could have been included on a green day album. The Rock&Roll songs were catchy, simple and fun to listen to, and you could feel a kind fun trilogy vibe to them. It made you wonder if Billie Joe used any lyrics that he intended to write as a green day song.

Possible to likely...Misc4.jpg

Edited by gnash
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You mentioned that 6 songs were performed.... they said he wrote 8 total, so the other 2 were supposedly played over the speakers as pre-recorded songs? Is that true? Did you really get to listen to those, or were they just background?

And my biggest question: Did this feel like a musical, or like a play? Like, if it goes to Broadway, would it be branded as a musical?

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Oh wow so cool!! So maybe this "Baby Blue" is the same we saw in Cuatro and we thought it was re-named in Baby eyes or Angel Blue but actually it may be another song

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Possible to likely...Misc4.jpg

So there is a Baby Blue, Teenage Blue and Angel Blue.. does anybody else see the pattern? Maybe there is a Child Blue and Adult Blue.

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Pretty sure Teenage Blue and Angel Blue are the same song, there's another one of those screencapped tracklists that has one listed as 'Teenage Blue/Angel Blue', whereas that picture above has Teenage Blue and Baby Blue shown separately. Be interesting to see what Baby Blue sounds like anyway

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You mentioned that 6 songs were performed.... they said he wrote 8 total, so the other 2 were supposedly played over the speakers as pre-recorded songs? Is that true? Did you really get to listen to those, or were they just background?

And my biggest question: Did this feel like a musical, or like a play? Like, if it goes to Broadway, would it be branded as a musical?

Some songs were played as background music and when someone turned on the jute box. I don't remember if the background songs were just repeated from the songs that were played live. There was more dialog than singing. There were not many scenes where the characters started singing during their lines. it was mostly when the band was performing.

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