“When the Earth was still flat, and clouds made of fire—and mountains stretched up to the Sun– sometimes higher…” (otherwise known as the 1990’s,) a daring, darling new-wave rock musical made its debut off-Broadway titled “Hedwig And The Angry Inch”. This groundbreaking Tony and Obie Award-winning smash that later took Broadway equally by storm, features a book by original “Hedwig” star, John Cameron Mitchell with some of the most rollicking songs by Stephen Trask (who also appeared in that debut production back in 1998.) Now, “The Chance Theater” in Anaheim California kicks off their jammin’ 26th Anniversary Season with this, their very first production of 2024. Directed by Matthew McCray, Musical Direction is by Lex Leigh. Performed sans intermission, from its inception this not-quite-extravaganza has been somewhat of a curious mix of a stand-up comedy routine interspersed with some of the wildest Pre-Grunge ‘alternative rock’ songs ever heard in a musical —in fact, “The Chance Theater’s” staging is probably the most polished and professional production you’re likely to see of this material.  So forget about ‘giving them an inch”—for this thoroughly stunning production, the team at “The Chance Theater” deserve to take a light year!  

 As the house lights fade, we are promptly introduced to that “internationally ignored song stylist” of the title, “Hedwig Schmidt” (formerly ‘Hansel’)— An East German rock ‘n’ roll refugee and would-be Pop-Princess who regularly breaks the ‘fourth-wall” to speak directly to the audience. From up there in the spotlight, backed by her hard-rocking punk band “The Angry Inch.” she recounts this outrageous, hilarious–but at times unexpectedly touching and relatable-chronical of her life’s search for “The Origin of Love.” Right from the frenetic licks of the band’s boisterous opening, “Tear Me Down”, the entire story plays out against a seedy/rustic backdrop of the “La Palma Club”–a small, rundown nightclub supposedly in close proximity to Anaheim’s landmark baseball stadium, the “Big A” (where her ‘Ex” and now chief rival, “Tommy Gnosis” is ostensibly holding a sell-out concert.)  “Thank you, thank you, you’re sweet” she greets us with; “I do love a warm hand upon my ‘entrance’!” (–Yeah, Hedwig’s various soliloquies that follow is laden with witty, or saucy, depending on your point of view, double-entendres like that.) Not long into her narration we’re apprised of the specifics of how this off-beat rock ‘n’ roll Prima Donna/Drag Diva ended up where she is, and the drastic steps she had to take in order to flee her native land of communist “East Berlin” (then behind the ‘Iron Curtain’ from which few ever escaped—at least unscathed!)  As we are quickly informed, she also happens to be the victim of a botched sex-change operation, which has left her with just a fleshy little “angry inch” at the end of her pelvis: “My sex-change operation got botched! My guardian angel fell asleep on the watch–now all I’ve got is a ‘Barbie doll crotch’; I’ve got an angry inch!!!” (But don’t worry—you never see it.) True, that sounds a bit dark, but stick around and you’ll experience a deeply moving chronicle told by way of songs and monologues performed by a Leading Lady not quite like any you’ve seen before!

  Subsequently, “Sugar Daddy” offers a pleasant bit of melodic variety, being more of a bouncy “Honky-Tonk” style ditty, that is a nice change from the harder rock forms the score is packed with. They even throw in a rousing country fiddle at one point in the accompaniment, easily making this one a resounding crowd-pleaser.  By contrast, among the most distinctive elements of this particular score is the guaranteed sing-along show-stopper, “Wig in A Box”.  Set near the very center of the proceedings and featuring some of the very best lyrics this libretto can boast, it’s a jaunty little tune describing the inimitable way “Hedwig” would boost her fallen spirits by utilizing the very item she gets us all singing about: “I put on some make-up; Some ‘LaVern Baker’, and pull the wig down from the shelf: Suddenly I’m ‘Miss Beehive 1963’ (Until I wake up, and I turn back to myself.)”  The show is full of surprises already, but she even gets patrons involved by roving through the auditorium offering wigs to anyone who wants to join the fun, as all-the-while the drums go wild with a truly ‘wiggy ’solo.

Given the unusual set-up and the way the story proceeds in Mitchell’s book, this is a potentially challenging musical to direct. After all, we as a society have a far greater awareness about transgender individuals and their challenges than when the show first premiered. Gladly, Mr. McCray’s Direction acknowledges these strengths and sensitivities and doesn’t just make even the most unfamiliar elements coalesce; he makes (to borrow from a handy refrain) “the strangest things seem suddenly routine”.  By the same token, he’s also not afraid to make the goings-on, ‘fun’ without ‘making fun’ of anyone. The ending here on stage is much more cut-and-dry than the 2001 big-screen version, but it still seethes with a strong affecting feeling. Here too, McCray handles “Hedwig’s” inevitable transformation into “Tommy” at the show’s climax, smartly and effectively, fashioning it as a smooth, bittersweet, capitulation, as “Hedwig” metaphorically ‘gives’ herself away fully—to her most successful ‘creation’: “Tommy Gnosis”. Once this is initiated, she is left to simply dwindle away (This also adds much more timbre, more reverberation to the earlier lyric in “Hedwig’s Lament”: “I gave a piece to my mother, I gave a piece to my man; I gave a piece to the ‘Rock Star”—he took the good stuff and ran…”) Meanwhile, “Yitzak”, “Hedwig’s” ‘now former Partner’ solemnly removes “Hedwig’s” trademark over-sized yellow faux-Farrah Fawcett wig (that is so much a part of her persona,) and places it on his own head, signifying his ‘becoming’ the new Hedwig. Any way you interpret it, it’s still a remarkable, pensive, and even shattering moment.

 As “Hedwig” and (by extension) his “slip of a girly-boy” younger incarnation, “Hansel”, Tom Avery is utterly, prodigiously, fabulous–one might even say, his casting is like a gift to the entire production. Right from his first entrance, (literally skating in on a scooter whilst proclaiming: “It’s good to see me, isn’t it?!”) Avery demonstrates that he has a flair as a monologist—a rare talent among performers these days, (and as this is essentially one long oration, it is imperative the person cast can keep the action going while always being compelling to listen to.) To his vast credit, Mr. Avery prevails on all counts! Gifted as well with a soulful voice that suits the overall style(s) of this music, he excels with his ‘aggressive’ opening “Tear Me Down”, before topping it immediately following with the story-through-song, “The Origin Of Love” (inspired by an infamous section from Plato’s “Symposium” which discusses the idea of the existence of “Three” genders.) He also shines lampooning the part of a “Good Ol’ Him/Her” belting out the ‘Big-Haired, Mascara-Quinceanera” anthem sung in praises of always having someone to pay the bills, “Sugar Daddy”; But his dual renditions of “Wicked Little Town” is where his performance really becomes magical. In many ways, this latter number is the backbone on which the entire story rides. “Tommy’s” sublime ‘reprise’ of this is quickly followed by the similarly haunting “Midnight Radio”, wherein he deftly takes us back to a secret time and place we’ve all been to one time or another in our collective adolescence. Count this one (..er, two) a double dose triumph as well. As “Tommy”, Avery has painted him as someone akin to a teen-male answer to Taylor Swift and the stark contrast between him (Hedwigs’ creation) enjoying overwhelming popularity (and her lack of it,) adds an existential emptiness on to which “Hedwig” projects her humor and performing energy.

 Laura Herskov also succeeds in her own right at blowing our minds as “Hedwigs’ ” “Man Friday through Thursday”,  “Yitzhak”. It is this character that basically starts the show by announcing “Ladies and Gentlemen: whether you like it or not, here’s Hedwig…”  Ms. Herskov then gives us our first taste of her own vocal fortitude with her part in “Origin Of Love”—also providing how well she and Avery sound singing in unison. By the time the number is completed, it all adds up to a definite “Wow” for everyone involved. For this production, “The Long Grift” has been reworked to be a well-deserved solo for “Yitzak”, and it finally gives us more than simply a sampling of Ms. Herskov’s full-fledged ability with a song, and she transcends with it, making for yet another highlight this production features. Consider too, the perplexity of this role—regardless of the performer’s actual gender. “Yitzak” is a male who makes his living as a female impersonator while dreaming of becoming a full-on drag-“Super Star” like his not-always-so-appreciative partner Hedwig. Happily, Ms. Herskov handles it all with terrific aplomb, creating a very sympathetic character in just a few lines of pointed—but significant–dialogue. Other prominent figures in “The Angry Inch”–the genuine on-stage band, include Lex Leigh as “Skszp” (the keyboardist and fiddler) James Michael McHale as Jacek (on Base,) Mazie Voss as Guitarist “Krzyzhtof”, and Julia Smushkova as Drummer “Schlatko”.

    Scenic Designer Bradley Kaye’s drab, downtrodden set for “The La Palma Club” instantly gives us all we need to know about how ‘flourishing’ an entertainer Hedwig and her crew are. While all the events remain solidly within the club, he manages to ‘open up’ the playing space through a few strategically placed screens, which come into play often during the musical numbers giving them added ‘flash’ and bravado. These big-screen projections include several of “Tommy Gnosis” which appear at intervals on either side of the stage, as to suggest for Hedwig, there’s no escaping him. Likewise, the quirky animated ‘memes’ that pop up now and then, reference the film adaptation, adding still more astute commentary for those familiar enough with the material. These screens and the projection on them all add a little ‘knock-out’ “Pizzazz” to Zach Moore’s Lighting Designs (which by nature of “The La Palma Club” must remain a bit on the staid, but fully-functional side.) By the same token, Costume Designer, Bradley Allen Lock has created a bevy of “looks” that might best be described as stylishly sleazy—and he probably had a ball doing it. And why not? The costumes range from Hedwig’s ‘Zsa-Zsa Gabor-esque’ silver sequined gown to her 1970’s denim patchwork/cutoff outfit that practically screams “Impeach Nixon”. These are to say nothing of the way the band sport multi-hued feather-boas over their (seemingly) slap-dash stage/evening attire—all in a glorious array of clashing tints and tones. His ‘enhanced’ color-palate also helps us more easily accept the overall ‘surreality’ we’re constantly being met with on stage. This is complimented (and even punctuated) still more by Kate Gelleran’s deliciously over-the-top hair and make-up designs. Her efforts too, convey the impression that she had herself a delightful time creating these whimsical ‘glam’ make-up motifs—and in one particularly clever touch, she gives our “Hedwig” an overtly visible, “uni-brow” (–further pointing to the songstress’ inert androgyny.)  

Sure, “Grease” or “Bye-Bye Birdie” this ain’t—however, the real strength of “Hedwig And The Angry Inch” is its universality. At our core all of us can identify (in some aspect) to “Hedwig” (—of course most of us haven’t suffered the same type of physical damage she has, but we’ve all, at some time or other, wanted something so desperately and totally against the odds, just as “Hedwig” does here.) This is what makes her an authentic Heroine, and all the admitted absurdity of her lot in life is what makes her so…well, lovable. After previewing from January 26^th, through February 2^nd, “Hedwig and The Angry Inch” officially opened on February 3^rd , 2024 where it will entertain, infatuate, electrify and enthrall until February 25^th , 2024 on the “Cripe Stage” of “The Bette Aiken Theater Arts Center”, located at 5522 E. La Palma Avenue, Anaheim, Ca. 92807.  Performance times are Thursday evenings at 7:30 PM, Friday and Saturday evenings at 8:00 PM, with Saturday and Sunday Matinees at 3:00 PM. Tickets may be obtained on-line by logging onto: www.ChanceTheater.com or by calling: (888) 455-4212. 

 

Production Photos by Casey Long Courtesy Of The “Chance Theater” http://www.ChanceTheater.com ; Special Thanks To Casey Long, Matthew McCray, Lex Leigh, Oanh Nguyen, Erika Miller, Bette & Wylie Aitken, And To The Cast & Crew Of “The Chance Theater’s” 2024 Production Of “Hedwig And The Angry Inch” For Making This Story Possible.