note: entire contents copyright 2002 by Carl A. Rossi
Hedwig / Tommy Gnosis…..Gene Dante
THE ANGRY INCH:
Skszp, guitar…..Eric Beauchemin
Schlatko, drums…..Matt Bogdanow
Jacek, bass…..Izzy Maxwell
Krzyzhtoff, guitar…..Paul Phillips
Hugo, keyboards, Musical Director…..David Nehls
That glam-rock favorite, HEDWIG AND THE ANGRY INCH has returned to Boston for a limited engagement, with Gene Dante (winner of The 2002 Addison Award for Best Actor in a Musical) once again as the one, the only Hedwig. The following is a revision of my notes from last November:
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In the past year I have seen three musicals that have shown me that this distinctly American genre is far from dead and in its grave despite the many blind alleys it has gone down: THE WILD PARTY (SpeakEasy Stage Company), a brilliant recreation of Joseph Moncure March’s dark Jazz Age poem; MARTY (The Huntington Stage Company), which --- despite its flaws --- honorably attempts to revive the traditional book musical with tunes and dances; and, finally, HEDWIG AND THE ANGRY INCH (now back in Boston), the most exciting, unique and successful of the three.
HEDWIG, of course, tells of Hedwig f/k/a Hansel, a “slip of a girly-boy” from Communist East Berlin who escapes to America after undergoing a bungled sex-change operation that leaves her with what she calls an “angry inch”. Abandoned in Kansas by her G. I. husband, Hedwig becomes a rock singer performing with her own band, The Angry Inch. She hooks up with a young guitarist whom she christens “Tommy Gnosis”, seeing him as her other half (in the show’s most haunting song, “The Origin of Love”, Hedwig sings via Aristotle that each of us is a severed half of an original whole and that we spend our lives looking for that missing half). Tommy also abandons Hedwig, taking her songs with him, and becomes a major rock star, leaving Hedwig --- a born survivor --- to go on living, singing and hopefully becoming a whole person on her own.
HEDWIG is akin to BATBOY: THE MUSICAL (which will be flapping back in April to the SpeakEasy); both musicals deal with social misfits and are geared towards younger audiences. Though I refused to hug my BATBOY, I was genuinely touched by Hedwig’s tragicomic life --- the show’s biggest irony is that after being abandoned in Kansas and saddled with her “angry inch”, Hedwig watched the televised fall of the Berlin Wall shortly after her departure. HEDWIG’s gimmick is passing a musical off as a rock concert --- and it works brilliantly, both as a concert and as theatre, from its now-famous introduction, “Ladies and Gentlemen, whether you like it or not --- HEDWIG!” to the stirring finale, “Midnight Radio” (the millennium’s answer to “Let the Sunshine In”). Where I feel that the creators of BATBOY: THE MUSICAL are Broadway wannabes who know little about rock, I came out of HEDWIG (slightly deafened) feeling that two distinctly different halves in the forms of John Cameron Mitchell (a Broadway singer-actor) and Stephen Trask (an authentic rocker) had become One and given birth to HEDWIG. Just as Mr. Mitchell (who wrote the monologues and was the original Hedwig) trained to become a convincing rock singer, Mr. Trask (whose own band --- “Cheater” --- was the original Angry Inch band) learned to dramatize his music without having it slip into camp or pastiche, drawing upon the New Wave/Pop/Punk sounds of the 1980’s. (To top it off, HEDWIG was first tested in a New York drag club for authenticity --- it passed through the fire to later become an off-Broadway sensation.) HEDWIG is a one-of-a-kind musical, like THE FANTASTICKS, and can only exist in a live performance --- the disappointing film version preserved Mr. Mitchell’s Hedwig at the expense of opening up the story line and showing everyone and everything that Hedwig so effectively talks about onstage).
Like Hamlet, the role of Hedwig is a multi-faceted character open to a number of interpretations. Judging by Mr. Mitchell’s film performance, I gather his onstage Hedwig was funny/poignant, no doubt drawing upon the actor’s slender frame. I was told when Michael Cerveris (from Broadway’s TOMMY) took over, his Hedwig was funny/tough --- which also worked. The current production boasts a warm, seductive Hedwig from Gene Dante --- streetwise, yet alluring (an alley cat Dietrich), with a powerhouse of a voice that sounds as fresh at curtain call as it does upon his first entrance, and he is golden in his sardonic yet gentle monologues (an acting lesson on How to Work an Audience). Mr. Dante’s performance makes me realize how theatrical a successful rock concert really is --- its singers need to have a sense of the dramatic, a presence, and plenty of bravura to get their music across --- and having a trained singing voice like Mr. Dante’s doesn’t hurt, either. (Mr. Dante has his own website at www.genedante.com.)
Lisa Boucher makes a droll, gnomish Yitzhak --- Hedwig’s second husband, co-singer, former drag queen and butt of Hedwig’s jokes (the role is traditionally played by an actress not only for ironic contrast but for vocal balance); though small in stature, Ms. Boucher also boasts an impressive voice that could cut through anything that the Angry Inch dishes out --- and there are some pretty thick walls of sound, let me tell you. (Should Hedwig ever be played by a woman --- and why not? --- Yitzhak would have to be played by a man; again, for the vocal balance.) The five-piece band are all accomplished rockers --- tinted and/or grungy --- and know when to make with the personality and when to recede into the Star’s shadow.
I cannot say I have seen the future of the American musical for there’s nothing on earth like HEDWIG and she can only give birth to imitations, but I urge you to go and see her while she’s here (Mr. Dante is hitching his star to New York in the future) --- and don’t forget your ear plugs.