Saturday, July 01, 2023

Theatre: Turned to 11

 Hedwig and the Angry Inch Text by John Cameron Mitchell, Music and Lyrics by Stephen Trask, Directed by Eddie Dehai, Arts West, through 23 July.

Let me give you the bad news first - The sound volumes were a problem. Punk rock levels within a small venue. As a result, both the Lovely Bride and I lost a lot of the words to this musical. Which is a problem, if you expect the lyrics in a musical to help define the characters and move forward the plot. 

And it is a pity, since actors are excellent and their voices are both strong and powerful. Nicholas Japaul Bernard captures Hedwig's talent, ego, and anger in every motion, while Kataka Corn is stellar as suffering husband Yitzhak. Michael B. Maine fills out the trio on stage running multimedia and boards, acting both as quiet support and counterpoint to the leads. 

Here's the plot. Hedwig escapes East Germany by marrying a US Army officer, but to do so, must undergo gender-reassignment surgery, which is badly botched. A year later the marriage breaks up, stranding Hedwig in Kansas. Hedwig rebuilds a life as a singer, teams up with another man who goes onto greatness without her, and marries Yitzak on a European tour. 

And Hedwig is a jerk. Hedwig treats Yitzak as Hedwig had been treated, reducing Yitzak to a Renfield-like supporter, denied their own agenda as Hedwig sings, sashays, and rages their way into a total breakdown. Bernard as Hedwig quips their way through their personal history as their anger within them grows to the final psychotic break. Bernard's music and performance leans more to Tina Turner than David Bowie, and their jokes and asides lean heavily on Seattle references for the local crowd. Corn as Yitzak has the more powerful voice, ultimately, but that's part of the point of the musical. The live band has been replaced with multimedia, which is at its best when it supports and counterpoints the play as opposing to dominating it. 

Ultimately?  Great performances dealing with a limited space. The musical evokes such now-classic era rock operas like Tommy and Rocky Horror Show. The passion is in competition with sheer volume. And that sheer volume sometimes overwhelms and leave the audience battered as opposed to comprehending. It is a good production, but be warned.

More later,