Michael Friedman: “It is very gratifying that audiences and critics seem to enjoy BLOODY BLOODY ANDREW JACKSON”

BLOODY BLOODY ANDREW JACKSON opened at the Off-Broadway Public Theater April 6th after previews that began March 23th. This new musical audaciously redefines America´s seventh president, the man who invented the Democratic Party and doubled the size of the nation, with a raucous blend of outrageous comedy, anarchic theatricality, and an infectious ´emo rock´ score.

Michael Friedman (music and lyrics) and Alex Timbers (book) are the authors of BLOODY BLOODY ANDREW JACKSON. Timbers also directs the show. Due to its success, the musical has extended its run at the Public Theater three times, and now it will be running through June 27th.

Friedman is an associate artist with the Civilians, and has composed music and lyrics for the company´s THIS BEAUTIFUL CITY, [I AM] NOBODY´S LUNCH, GONE MISSING and CANARD, CANARD, GOOSE?. He has also written songs for musicals as SAVED, IN THE BUBBLE, THE BRAND NEW KID and THE BLUE DEMON. With Steve Cosson, he co-authored the 2008 Public LAB production PARIS COMMUNE. In 2007, he received an Obie award for sustained achievement.

Friedman explains us more details about BLOODY BLOODY ANDREW JACKSON, a show that has been rated by reviews as the best new musical of the season.

HOW WOULD YOU INTRODUCE ‘BLOODY BLOODY ANDREW JACKSON’?
It’s a wild rock show about the 7th President of the United States and the origins and consequences of Populism in the United States. It’s also about the leaders we choose, the things we take responsibility for as a nation, and the legacy of the 19th Century. It’s also a comedy.

AND HOW WOULD YOU DESCRIBE THE MUSIC OF THIS SHOW?
Emo Rock. It’s a kind of post-punk pop music that mostly centers around whiny young men with guitars. And loud drums.

HOW DID IT COME UP THE IDEA OF CREATING A MUSICAL ABOUT ANDREW JACKSON? AND HOW DID YOU GET INVOLVED WITH IT?
Alex Timbers and I were introduced by a mutual friend, and in our first meeting we came up with this idea. Alex had always been interested in historical figures in theater (through his company, Les Freres Corbusier), and I took a class on Andrew Jackson in college.

ALEX TIMBERS HAS WRITTEN THE BOOK AND DIRECTED THE SHOW. HOW HAS BEEN THE WORK WITH HIM?
Alex is a terrific collaborator and a great partner. He pushes everyone around him to do better work.

THE SHOW HAS EXTENDED ITS RUN AT THE PUBLIC THEATRE. WHAT DOES THIS SUCCESS MEAN TO YOU?
It is very gratifying that audiences and critics seem to enjoy the show.

WHICH USE TO BE THE AUDIENCE REACTION AFTER THE SHOW?
Most people seem to have a great time, and also to want to learn more about Jackson and his period in American history. That said, the show pushes a lot of emotional buttons for some people, which has also been interesting.

WHAT COULD YOU TELL US ABOUT THE CAST THAT IS PERFORMING ‘BLOODY BLOODY ANDREW JACKSON’ IN NEW YORK? WHAT WOULD YOU HIGHLIGHT OF THEM?
They are an incredible bunch. Funny, kind, and generous, not to mention wildly talented. Obviously, I have to mention Ben Walker, who plays Jackson, and is a lightning bolt of charisma and talent.

RECENTLY YOU’VE BEEN IN THE RECORDING STUDIO TO CREATE THE CAST ALBUM. IS IT SO DIFFICULT FOR A NEW SHOW TO GET AN ALBUM?
It is expensive, so it’s always nice when you can get a cast album recorded. For a composer, it’s really important to keep a record of the show for the future.

‘BLOODY BLOODY ANDREW JACKSON’ OPENED IN LOS ANGELES IN 2008 AND THEN IT WAS DEVELOPED INTO A CONCERT VERSION FOR THE 2009 PUBLIC LAB. HOW HAS EVOLVED THE SHOW IN THESE TWO YEARS?
We’ve done a lot of rewrites, especially on the final part of the show, and the design and cast have evolved. The show is tighter, and, I think everyone agrees, better.

IS IT VERY COMPLICATED TO OPEN A NEW MUSICAL IN NEW YORK?
It takes a long time and requires a lot of people to have a lot of faith in you. I feel very lucky.

A scene of BLOODY BLOODY ANDREW JACKSON with Benjamin Walker in the middle