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Chris French as Hedwig. Photo by Will Abner.
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 stand-in), 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.
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I was surprised by such a good review as most of the people in this production are college students. Not to say college students can't be talented, but I attended a school with one of the most highly-rated theatre dept's in the state and I still saw tons of people who subscribed to the thigh-slapping school of acting.
I might also mention that Hedwig was at the Warehouse previously when Signature Theatre brought it back from a previous year. I actually got to work on that show and it was such amazing fun. I'm curious as to this group's interpretation of the show.
Having seen my share of bad college theater, I get your skepticism, demonfafa, but also keep in mind that beyond the band, you really only need two performers to kick ass for the show to work. And they did, which as a big fan of the material, was great to see. Would have loved to have seen the Signature take - I think that was a little before my time as a critic here.
These students went to one of the most selective arts conservatories in the country. So, there is college theater, and then there is college theater. Thigh-slapping wouldn't go far there. It's a small distinction worth noting, from an admittedly proud alumnus who has nothing to do with this production.