After nearly two decades, the critically acclaimed rock musical ‘Passing Strange’ is finally making its Los Angeles debut at the Pasadena Playhouse, and let me tell you, it’s a huge deal. This show, which snagged big wins at the Tonys, Drama Desk, and New York Drama Critics’ Circle Awards back in 2007, is hitting SoCal shores. Its unique blend of social and racial commentary, a fourth-wall-breaking protagonist, and a live band on stage truly set it apart, influencing countless productions since. For fans who’ve been waiting for this moment, it’s ‘no cap’ an event not to be missed.
The long-awaited L.A. premiere of ‘Passing Strange’ is a full-circle moment for its creators, Stew and Heidi Rodewald, who were prominent figures in the Los Angeles music scene with their band, The Negro Problem, before the show took them to New York. The delay in bringing the production back home has been a head-scratcher for many, but now it’s happening, thanks to director Zhailon Levingston. Levingston, a recent Tony winner for ‘Cats: The Jellicle Ball,’ reportedly had this rock musical at the top of his list when discussing projects with the Pasadena Playhouse. His vision for the piece has earned the creators’ complete trust, with Stew himself admitting he wouldn’t dare offer advice to such a ‘visionary’ director.
Stew and Rodewald’s journey with ‘Passing Strange’ was anything but conventional. The idea first took shape as a cabaret act called ‘Travelogue’ in New York clubs, rather than being conceived as a full-blown musical. They weren’t even actively trying to create a Broadway show; in fact, they initially declined when The Public Theater approached them about turning it into a theatrical piece. This ‘dope’ origin story highlights their authentic approach, driven by artistic integrity rather than chasing mainstream dreams. Unlike their experiences in the music industry, the theater world offered surprising support, appreciating their lyrics and providing resources to create without the pressures of commercial success.
The musical’s impact on Broadway was undeniable, especially its influence on staging. Stew noted that immediately after ‘Passing Strange,’ ‘every show wanted to have a band on stage.’ Its distinctive lighting design, initially created from ‘rejected’ lights, also became a trendsetter. However, Stew feels the deeper, raw ‘rock ‘n’ roll spirit’ he aimed for has yet to fully permeate musical theater. He constantly challenges his students to create works that embody this spirit of unpredictability and authentic vulnerability, much like an Iggy Pop performance, rather than just featuring a fuzzy guitar.
Despite the show’s massive success and influence, Stew and Rodewald remain ‘crazy busy’ with an array of new projects. The Negro Problem is slated to release a new record in 2027. Heidi Rodewald is developing a show about Aileen Wuornos, while Stew is working on ‘Broadway-bound’ productions focusing on icons like Muhammad Ali and Thelonious Monk. They also run ‘Stewdio Zero,’ a collaborative project with former students, performing original works at Jack in New York. Plus, they’re developing an ‘epic live song cycle’ about legendary activists Grace Lee Boggs and Jimmy Boggs, aiming to put these ‘unapologetically radical’ figures further on the map.
Stew, who also teaches at Harvard, uses his platform to instill this ‘rock ‘n’ roll ethos’ in aspiring musical creators, guiding them to make ‘musical theater that doesn’t suck,’ as he’d ‘lowkey’ title his class. He humorously recounts his own struggles with differentiating modern pop stars like Taylor Swift, a sentiment that led to serious eye-rolls from his students. This reflects his commitment to an older, perhaps more ‘jaded’ perspective on art, yet one that constantly strives for genuine expression and innovation, proving that even with decades of experience, the ‘grind’ never stops for these two.
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
