BWW Reviews: Chance Theater's Edgy BLOODY BLOODY ANDREW JACKSON Makes Splashy OC Debut

The musical's tagline should have given you a hint: History Gets All Sexypants.

No doubt one of the most exciting, edgy, in-your-face new musicals to have popped up in recent years, the electrically-transfused angst-rock musical BLOODY BLOODY Andrew Jackson is making quite a splashy, enjoyable Orange County debut at---where else---but The Chance Theater, which continues to solidify itself as OC's home for eye-opening, entertaining smaller shows with cult followings. Filled with equal amounts of clever barbs and super-silly gags, this bloody-good, uniquely original musical---a creatively-crafted retelling of the emotions, deeds and actions of our 7th U.S. President---continues performances through August 4 in Anaheim Hills.

Featuring a wildly funny book by Alex Timbers and some wit-laced head-rocking tunes by Michael Friedman, the dynamic, Tony Award-nominated musical (which made its World Premiere at the Center Theatre Group's Kirk Douglas Theatre in Los Angeles back in 2008) recounts the story of "Old Hickory"---yep, the dude that's emblazoned on the $20 bill---who also happens to be the father of the modern Democratic Party. An aggressive "maverick" with a penchant for passionately (some say irrationally) supporting causes which he deems are the supposed will of the people, Jackson (played with spry gusto by Keaton Williams, impressively snug in his sexypants) is, understandably, considered a polarizing personality both in his own time and in the context of how historians have portrayed him. Was he a misunderstood anti-hero, an evil tyrant responsible for mass murder, or simply just a people-pleasing hypocrite?

According to the very funny musical---which, surprisingly enough, is rooted in actual historical record despite the show's wildly imaginative and highly exaggerated way of narrating its dense story---it's this very idea of populism that generates much of Jackson's fervor, ushering in not only his strategies as an army general (the man won decisive battles against the British, the Spanish, and, shamefully, the neighboring Native American tribes), but also, later, his policies and as the impertinent elected leader of the nation in 1828 (Little did Jackson know that populism can rear its ugly and sometimes apathetic head, too).

But the irony is that, despite Jackson's well-meaning constant pursuit of siding with the poor, common man---particularly with those citizens in rural areas and the nation's unpaved frontiers and prairies that he feels are not fully represented by the wealthy, high-fallutin' aristocratic members of the U.S. government---Jackson himself was a morally-corrupt, wealthy individual, and was a supporter of (and was quite a practitioner of) human slavery. And, of course, this so-called "American Hitler" was instrumental in the infamous, rather deadly forced relocation of Native Americans to the West.

With such heavy themes and important historical factoids swirling in this theatrical vortex, BLOODY goes the absurdist-comedy route to illustrate Jackson's tale---and, my, what a wickedly intelligent way to do it! Focusing mostly on his political rise, his relations with opposing ethnicities (particularly Native Americans), and his tumultuous marriage to wife Rachel (played with quiet longing by Ashley Arlene Nelson), the show cleverly mixes loony sketch comedy and acerbic political satire with the raw, untamed energy of an arena rock concert, with all kinds of head-banging punk-cred oozing out of every blood-curdling scream and screechy guitar lick that both intellectuals and hipsters will appreciate and applaud. (Kudos to on-stage band led by guitarist/vocalist Gasper Gray for seamlessly integrating themselves into the silly shenanigans).

The super-serious situations of Jackson's life are put under the parody microscope, and with it comes a creative license to eschew time and logic and insert modern pop-culture signposts as his story unfolds. Here, Jackson is an Emo Rock-God that often resorts to whiny, child-like protests when he doesn't get his way---but he follows it with a smolder and a smile. It's almost grating, but not quite, thankfully.

And as the cherry on top, the entire actors ensemble---all of whom are truly extraordinary---sings, leaps and dances while swathed in one of the sexiest wardrobes of any musical in quite some time. The unbridled silliness is exactly why BLOODY BLOODY Andrew Jackson is one helluva entertaining history lesson.

For Chance Theater's thrilling regional production---under the thoughtful, purpose-driven direction of Kari Hayter---BLOODY reconfigures the intimate space of its Anaheim Hills black box theater and refashions it as a Steampunk-meets-Wild West Saloon (courtesy of set designer Christopher Scott Murillo with lighting designer Steve Giltner assisting with mood shifts) that serves as the backdrop for Jackson's dealings with the Indians, the Spaniards, the British, the Washington elite, and his own inescapable egomaniacal-slash-insecure outbursts.

To no one surprise, much of the social commentary in BLOODY is still relevant in regards to what our own nation is still experiencing in some form today (Jackson's tug-of-war with Washingtonian politics, both before and during his presidency, is an often pointed parallel). In the musical, no person and no situation is immune from parody. The exaggerated bufoonery of the people that enter Jackson's life---except in his long-ignored wife and his ultimately betrayed Indian confidante Black Fox (Robert Wallace)---all become fodder for the show's lampooning, which are also reflected in the show's music comprised of rousing, defiant rock anthems mixed with stirring monster ballads. The score, while no SPRING AWAKENING, is still a collection of concert-caliber ear candy, particularly the sticks-in-your-brain opener and two personal favorites, the funny but eerie "Ten Little Indians" and the rousing "Rock Star."

But to be perfectly honest, this show's true assets are the very people tasked to portray these characters, to dance these steps (using terrific choreography by Kelly Todd), and to sing the crap outta these songs. How else does one achieve a modicum of success but to populate the show with an ensemble cast that is so damn talented, so damn in sync, and so damn committed to their given role(s), that it's almost impossible not to like even the most out-there dialogue they deliver? Williams---now in his third excellent lead role at the Chance---is a very capable, believably sexypants Jackson, while supporting players---particularly the superb Alex Bueno (as the Storyteller) and the very funny Kyle Cooper (as Martin Van Buren and, at times, a particularly randy Spaniard)---rise above and steal many scenes. But it's when the entire cast crowd the performance space when the magic truly happens.

Overall, BLOODY BLOODY Andrew Jackson is yet another remarkable achievement for Chance Theater. People coming expecting a rocked-out 1776 or RAGTIME will not be so much disappointed but, rather, surprised by its vaudevillian silliness, its satirical wit, and its rock audacity. This creative, spirited, revisionist take on the life of President Jackson certainly deserves your vote.

Follow this reviewer on Twitter: @cre8iveMLQ

Photos from The Chance Theater's BLOODY BLOODY Andrew Jackson by Thamer Bajjali/True Image Studio. From top to bottom: Andrew Jackson (Keaton Williams) sings and snarls; Black Fox (Robert Wallace, left) makes a plea; Rachel (Ashley Arlene Nelson) attends to Jackson's wounds; the ensemble.

For more photos from the production, click HERE.

-----

The Chance Theater's Production of BLOODY BLOODY Andrew Jackson continues through August 4, 2013. The Chance Theater is located at 5552 E. La Palma Ave., Anaheim Hills, CA 92807.

For more information or to purchase tickets, call (714) 777-3033 or visit www.ChanceTheater.com.

To post a comment, you must register and login.