Alright, listen up, theater buffs and rock ‘n’ roll rebels! After nearly two decades, the critically acclaimed, Tony-winning rock musical ‘Passing Strange’ is finally hitting the stage in Los Angeles at the Pasadena Playhouse. This isn’t just any show; it’s a cultural moment, for real. The original Broadway run in 2007, which snagged some serious accolades at the Tonys, Drama Desk Awards, and the New York Drama Critics’ Circle Awards, clearly left its mark, influencing a whole bunch of successful productions since. Now, the West Coast is getting its turn, spearheaded by visionary director Zhailon Levingston, who, according to the report, just won a Tony this year for best direction of a musical for ‘Cats: The Jellicle Ball’.
The big question on everyone’s mind has been, ‘What took so long?’ especially since creators Stew and Heidi Rodewald were lowkey legends on the Los Angeles music scene back in the day with their band, the Negro Problem. Before ‘Passing Strange’ took them to New York, they had a loyal fanbase in SoCal just itching to see the show locally. The article notes that bringing the production to L.A. was top of the list for Levingston when he connected with the Pasadena Playhouse. This L.A. premiere has been a long time coming, and for many Angeleno theatergoers and rock fans, it’s about time this iconic piece of rock musical theater made its way home, no cap.
Interestingly, Stew and Rodewald aren’t directly involved in this Pasadena production; they’re more like proud parents watching from the sidelines. Stew shared that Levingston is a ‘total visionary’ and knows the play better than they do, advising against giving him any notes. Rodewald added that Levingston just ‘gets it’ when it comes to their work. Stew describes their art as ‘3 a.m. music’—the kind of deep cut that a cool friend introduces you to late at night, not something shoved down your throat by the mainstream. It’s about pleasing themselves and finding an audience that truly resonates with their unique vibe, rather than chasing the big bucks, periodt.
The journey of ‘Passing Strange’ itself is pretty unique. It wasn’t born out of a quest for Broadway glory but evolved from a cabaret-style ‘Travelogue’ Stew and Rodewald performed in New York clubs. The Public Theater actually approached them about turning it into a play, an offer they initially declined three times before saying ‘yes’. The creators, coming from a rock band background, had a jaded perspective on the industry, having lived through the implosion of the music business. Their ethos was ‘fuck a record deal; let’s make the record ourselves,’ which, as Stew famously recounted, they pretty much did with a $10,000 ‘demo’ advance from DreamWorks, producing their second album without the label even realizing it.
Their experiences with the music industry sharply contrasted with the theater world’s approach. While record companies felt like ‘suits pretending they get you,’ theater people, Stew explained, genuinely ‘care’ and appreciate things like lyrics, which was a fresh experience for them. Moving to New York in the early 2000s allowed them to make a living from their art, a ‘glass ceiling’ they felt in L.A. The theater scene offered workshops, retreats, and fair pay, providing ‘everything you need to create’ without the temptations of ‘cocaine money up front’ that some artists saw in the record business. This support structure allowed them to truly flourish as artists, something that hits different from their previous endeavors.
‘Passing Strange’ definitely broke new ground on Broadway, according to its creators. Stew notes two clear influences: suddenly every show wanted a live band on stage, and their ‘weird’ lighting design became widely copied. However, Stew believes the influence could go deeper, arguing that many ‘rock musicals’ are still pretty superficial, just adding a fuzzy guitar. He aims to instill a true ‘rock ‘n’ roll ethos’ in his students – a spirit of unpredictability, presence, and raw vulnerability like an Iggy Pop performance, pushing beyond the conventional ‘let’s put on a show’ mentality.
Stew and Rodewald are far from slowing down. The Negro Problem is set to drop a new record in ’27. Rodewald is working on an ‘amazing show’ about Aileen Wuornos, and they collaborate with former students through ‘Stewdio Zero,’ ensuring their work stays fresh. Stew is also busy making a film, working on a ‘Broadway-bound’ project about Muhammad Ali and Thelonious Monk, and, with Rodewald, developing an ‘epic live song cycle’ about legendary activists Grace Lee Boggs and Jimmy Boggs. Stew, who, as the article mentions, teaches both theater and music at Harvard, jokes his class should be called ‘How to Make Musical Theater That Doesn’t Suck,’ as he continually pushes for deeper, more rock ‘n’ roll-infused storytelling. They are busy as hell, ensuring their legacy isn’t just one show, but a continuous stream of authentic, boundary-pushing art. They’re both legit creatives, keeping it real.
If you enjoyed this article, share it with your friends or leave us a comment!
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.
