Goodman Theatre's 'Revolution(s)': A punk fury musical that never figures out what it's fighting for

By Lauren Emily Whalen

In its 100-year history, Chicago’s Goodman Theatre has been a benchmark for big swings at the theatrical canon, including Broadway transfers of classics like Death of a Salesman and Long Day’s Journey Into Night. The Tony-winning regional theater also has a history of developing new works. But in the case of Revolution(s), a world premiere musical featuring Tom Morello’s punk, metal, and hip hop score, along with additional lyrics from luminaries like Killer Mike, Boots Riley, and Big Boi, the production’s good intentions get in the way of concrete, complex storytelling.

Set in the Windy City, Revolution(s) attempts to subvert stereotypes (particularly of young Black men and Chicago’s South Side) and tackle topics like police brutality, generational trauma, and mental health. Despite a powerhouse acting company, the tale of two generations of vigilantes who pay the ultimate price ends up leaning into harmful generalizations and dated tropes.

To mark its centennial, Goodman recently launched a new tagline: “Leave more human.” But in Revolution(s), humanity feels in short supply. Zayd Ayers Dohrn’s book leaves rich plot nuances and larger systemic issues largely unexplored, favoring implausible plot points and confusing parallel storylines, which result in unfocused staging by director Steve H. Broadnax III.

Additionally, Revolution(s) never grounds itself in the city it professes to honor. Derek McLane’s Hell’s Kitchen-esque set doesn’t evoke Chicago or the South Side area (which itself encompasses many different neighborhoods). Apart from a few projections of the elevated train and an occasional street sign, it’s near-impossible to discern one location from another.

Morello’s score does the heavy lifting, but previously published lyrics from multiple artists add little depth. Poor sound mixing at the performance I attended rendered most lyrics inaudible—especially problematic during the Act I finale’s pivotal scene of a character live-recording his police pursuit. Al’Jaleel McGhee’s Leon emerges as the production’s one vivid standout, his charismatic presence and soaring vocals creating a commanding force even while imprisoned and dying.

Jackie Burns and Al’Jaleel McGhee in "Revolution(s)." — Jackie Burns and Al’Jaleel McGhee in “Revolution(s).” Photo by Brett Beiner.

In a rare reflective moment, one character observes that revolution requires “A community/A movement./You can’t beat them alone.” If only Revolution(s) had heeded its own advice.