|Željko Lučić in Rigoletto|
He found the latter production, a through-sung extrapolation of the band Green Day's 2004 punk-pop concept album of the same name, to be salient preparation for directing at the Met — to a point.
"The songs needed to be at a particular tempo, so I was bound to those decisions, and while I could argue for different tempos at different times, a song wouldn't change tempo in the middle," Mayer says of Idiot. "That's definitely going to be the relationship that I have with Rigoletto. The plot is going to be ticking, and at a certain point, something will happen musically, and I'm going to have to fulfill that with the staging."
In both cases, he sees one advantage through-sung material has over traditional book musicals. "One liberating thing about doing American Idiot is that the characters weren't bursting into song — that artifice didn't exist," says Mayer. "It was a wall of sound. The scenes were all the songs. So there isn't that moment of artifice. It's the one 'buy' you have at the beginning — these people communicate with singing. As artificial as it might be to our ear initially, it's consistent throughout the evening."RTWT here.