Hedwig's Shining, Like The Brightest Star

By Missy Frederick for the DCist

June 12, 2009

Many people I know have been urged to see Hedwig and the Angry Inch at one point or another with this endorsement: "You'll like it, it's like Rocky Horror!" With all respect to the cult classic, it's just not a fair comparison. Sure you've got the rock opera score, some sexually-explicit lyrics, gender-bending themes and glam costumes. But to label Hedwig a campfest is to sell her short - this is a show with real soul.

The off-kilter story was made into a well-received indie film awhile back, but works much better in the milieu of live performance. It features the victim of a botched sex-change operation (hence the "inch" in question) who's touring tiny venues throughout the country (D.C.'s Warehouse proves the ideal standin), performing right next door to an ex-lover. The ex, Tommy Gnosis, is filling arenas (like, say, the Verizon Center) as a successful rock star - trouble is, he totally stole all of Hedwig's material to do it. Along the way we learn about the pair's improbable love story and Hedwig's fascinating, disturbing bio as well.

The show is propelled by the swelling rock chords and inescapable lyrics of Stephen Trask - it's one of those musicals that follows the viewer out of the theater and keeps tugging away at the mind. Some songs are notable for their little snippets of poignancy : "The fates are vicious and they're cruel/You've learned too late you've used two wishes like a fool," Hedwig croons at one point to the lost adolescent Tommy. Most prove wholly satisfying as stand-alone songs, whether they be storytelling ballads or sensitive, tortured anthems. "The Origin of Love" takes a Greek myth and transforms it into an entirely modern quest for a soul mate. "Wig In The Box" might be musical theater's most convincing ode to escaping into a manufactured identity.

Material aside, the success of the Warehouse production, produced by No Rules Productions and Dan Marino, is dependent on how we identify with the Hedwig in question, embodied by Chris French. But French is a force. He coyly charms the audience with his punchline-peppered monologue, and has the requisite rock star presence to bring home the show's pulsating numbers, like the manic "Angry Inch", but brings depth and sympathy to the forlorn "Wicked Little Town" and the transformation number, "Midnight Radio". French is precisely balanced by co-star Aleque Reid, who brings great vocal power and range, as well as a glowering, evocative presence to the role of Yitzhak, Hedwig's latest paramour and backup singer.

Director Joshua Morgan keeps things local with topical jokes and D.C.-centric references, which aids French in developing a rapport with his viewers. References to current issues like Prop 8 are brief, and don't feel dogmatic, but the current political climate and show's proximity to Capital Pride do add some heft to Hedwig. Sure, the love story isn't a conventional one, let alone a functional one, but the show still has lessons of self-acceptance and tolerance to deliver - when it's not busy rocking out, of course.

Hedwig and The Angry Inch stops in D.C. for just a brief run - performances continue throughout this weekend at the Warehouse. Visit the site for more details.

HEDWIG AND THE ANGRY INCH

FIVE STARS

By Doug Rule for MetroWeekly

June 11, 2009

John Cameron Mitchell's original off-Broadway rock musical is the perfect show to see over Pride weekend, all the more so because the show's regrettably short run only lasts through this weekend. Directed by Joshua Morgan, the production is steadfastly faithful to the Obie Award-winning original. The only obvious change is the insertion of a few topical barbs about socialism and Fox News, Obama and rhythm, and the like. Hedwig, of course, is the fictitious ''slip of a girly boy who became the internationally ignored song stylist'' touched by too many people throughout his life, who tried to bring him down -- chief among these ill forces was a botched sex-change operation. But the accidental transgender's drive and determination to succeed against all odds is indefatigable. In actor Chris French's vivacious portrayal, Hedwig is as unhinged and whip-smart as ever. Musical support comes from a top-notch rock band, including Hedwig's put upon lover Yitzhak (Aleque Reid). The immensely cute rockers contribute bawdy interplay with Hedwig as they churn out Stephen Trask's phenomenal punk score. You get the thrill of a great concert with a story for the ages. Hedwig may not be playing the Verizon Center, like the boy who infamously stole his ideas and his tunes. But the intimate Warehouse, with just 100 or so seats and a full bar, suits Hedwig to a T. Thursday, June 11, Friday, June 12, and Sunday, June 13, at 8 p.m. Also Friday, June 12, at 11 p.m. The Warehouse Mainstage, 1017-1021 Seventh St. NW. Tickets are $20. Call 202-783-3933 or visit www.hedwigdc.com.

Free To Be He and She: 'Hedwig and the Angry Inch'

By Christopher Correa for The Express

June 11, 2009

THE "PAPER SHROUD" of a patchwork girl has finally trod into town in platform heels. She is Hedwig, the handmade creation of John Cameron Mitchell and Stephen Trask, from their groundbreaking musical "Hedwig and the Angry Inch," about a "slip of a girlyboy" from East Berlin who grew up to become an "internationally ignored song stylist" and, thanks to a botched sex-change operation, someone of unclassifiable gender. We spoke with the show's director and star, Joshua Morgan and Chris French, respectively.

» FRENCH: It's an epic story and it takes a lot of work to tell it.

» MORGAN: In order to do a good job as an actor, a writer, a director, this piece has to have a context, a reason to be done. We have every reason to do this show right now. When I talk about what "Hedwig" is, audiences are not turned off, but they tend to be a little wary. And they realize that it has nothing to do with what the show's about, but it has everything to do with who we are, how we decorate ourselves with B.S. and consumerism, with the need to impress. It's about fighting impulses, the things that hold us back every single day.

» EXPRESS: This version of the show seems to be more about moving forward than speaking out.

» FRENCH: With our new president, we can see our society moving in a progressive direction. But it's just a step. I watched the movie "Milk" and see a correlation with our show. For me, both illuminate how far we've come and how far we have to go. We can't stop now.

» MORGAN: We talk about what Hedwig wants. The great moment is when she says, "I want to fall in love with myself." This has nothing to do with ego. It's owning every inch of who we are.

» EXPRESS: What does Hedwig's story require of a performer?

» FRENCH: It called on me to explore my own identity. Hedwig has so many identity issues; she's developed this whole other person to put on to protect herself, to express herself. I used that point to focus on the ability to love yourself, to keep from detracting from that beautiful person you really are.

» EXPRESS: So, why Washington and why now?

» MORGAN: It was clear that Washington was a place for this show. There's a spirit and energy that welcomes new artists and revivals of certain things.

» The Warehouse, 1021 7th St. NW; through Fri. June 12, $20; 202-783-3933. (Mt. Vernon Square)

PLAY DC: Hedwig and the Angry Inch - LOVED IT!

By Cynthia Rinaldi for BrigtestYoungThings.com

June 9, 2009

Fittingly, Hedwig's run at the Warehouse is a short one. [Thank you, I'll be here all week.] Only four shows remain. So it's with a heightened sense of urgency, earnestness and brevity that I recommend you go. If you liked the movie, you will LOVE this performance.

I walked in skeptical: (1) because I'm always skeptical and (2) because the idea of this over-the-top movie being translated into a small stripped down theater piece seemed interesting. Everything about the film is so outrageous, Hedwig's story, the make-up, the costumes, the music, the animation. How could a tiny theater pull this off? And you know what? Warehouse does it seamlessly.

The play is staged as if you're one of the tired diners at any one of the many dive establishments Hedwig plays while not stalking Tommy Gnosis. This night, Tommy is playing at the Verizon Center down the street. You can hear the rumble of the arena and his stage banter, which continually aggravates Hedwig, "the internationally ignored song stylist standing before you." They tailor the show to D.C. with political humor: "'Change' isn't exactly the best campaign slogan for reelection, now is it?" It's all really quite brilliant.

Chris French plays Hedwig. He is phenomenal. For "Sugar Daddy" he walks through the audience and gives a few lap dances. He takes a Polaroid of the audience at one point and throws it at us. My friend caught it. To look at our faces in that tiny photograph only makes his performance that much more astounding. We look like living dead. How he pulled off that entire show having to look at us floors me. French singing "Midnight Radio" = Goosebumps.

For someone who hasn't seen the movie, I thought the relationship between Yitzhak (Aleque Reid) and Hedwig might seem a bit contrived or maybe just a little puzzling. But I got over that pretty quickly.

"When it comes to huge openings, a lot of people think of me." These one-liners keep your ears perked throughout the performance. Even though it's midnight. And even though you may have had one too many martinis.

The supporting cast/band was super good. Ultimately, though, this piece is a celebration of Hedwig, his search for love and self.and all that miserable muck everyone has to go through.

"Don't you know me DC? I'm the new Berlin Wall. Try and tear me down!"

Go and thank me later: http://www.hedwigdc.com