Aisle Say New York
July 15, 1998
by Adasha Greenwood
There are roles that are indelibly associated with the performers who first bring them to
public notice. Producers agonize over replacing a star when the star turn has to be turned
over to a replacement. One would assume this would be even more of a problem when the role
was created for, as well as by, the original performer. "Hedwig and the Angry
Inch" at the Jane Street Theatre (so far West Village as to be almost in New
Jersey) may have been a showcase for its co-creator/star John Cameron Mitchell, but
the happy news is that the rock concert/musical has Michael Cerveris filling every
inch of Hedwig's leather with charisma and aplomb.
Cerveris, currently taking his own break from Broadway's "Titanic", is best
known for originating his own title character in the Broadway "Tommy", so we
knew he could sing and dance. But both the Big T musicals are extravaganzas; set, lights
and special effects take precedence over individual personalities, and the cast is only
another tool in the director's kit. Not to take anything away from "Hedwig"'s
sets, lights and special effects -- they're every bit as creative and exciting, no doubt
on a much lower budget -- but the smaller scale of "Hedwig", and the role's
greater complexity and range, allows Cerveris to show wit, flexibility and impeccable
timing, along with the rock star talents already established.
His voice moves with ease from Hedwig to the other characters in her life, and his body
seems to take on a slimmer wiriness, almost imploding as he portrays Hedwig's own
Tommy (a focal character in her life). He may still look more solidly masculine than
Mitchell, but his eyes look great in glitter. And in the intimacy of the Jane Street
Theatre, you can actually see what's going on in those eyes. A lot.
photo by Amazing Journey
Those of you who read my colleague's review know that this
show may not be for everyone. The Angry Inch is, after all, a rock band (aside from its
metaphoric meaning), played by a rock band in finest black lipstick and piercings (Cheater--consisting
of Scott Bilbrey, David McKinley, Chris Weilding, and Hedwig's
talented songwriter, Stephen Trask), so those of you who cringe at loud noises, be
ye warned. For those of you willing to take your loud noises when presented with
exhilaration and skill, you will find "Hedwig" much more than a drag show. A
rock concert, a stand-up act, a philosophical inquiry into sexual confusion/human fusion,
under Peter Askin's fine direction, it seques deftly from low humor to surprising
drama.
Mention should be made of the fine design team: James Youmans for the sets and
captivating projections, Fabio Toblini for perfect costumes and Mike Potter
for hair and that sensational glitter, and Kevin Adams for the stunning lighting. Miriam
Shore is a wonderfully passive-aggressive straight man (so to speak), and she's got a
great high singing range, for a man. And front and center is Mr. Cerveris, whose own fluid
voice is a pleasure to listen to, whether singing or reminiscing on Hedwig's melodramatic
past. The producers may first have thought of this star replacement as an excuse for a few
extra giggles (Hedwig is fixated on her own Tommy, and the program notes that the Hotel
Riverview, home of the Jane Street Theatre, was once a lodging house for the surviving
crew of the Titanic), but they couldn't have made a finer choice. And how generous of John
Cameron Mitchell to allow Cerveris to shine in his baby.
