Dallas Voice (Dallas, Tex.), Vol. 20, No. 20, Ed. 1 Friday, September 12, 2003 Page: 42 of 68
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J
Wicked little play
sfoge m Kitchen Dog's Hedwig p
Hedwig production cranks out
fist-pumping rock and the role of a lifetime
By Arnold Wayne Jones
Features Writer
The doors were late to open at
the Dallas debut of the rock band
called Hedwig and the Angry
Inch. When they did, the audience
shuffled down a dark hall plas-
tered with ugly, colorful posters
promoting the show, and walked
in on the band, already on stage,
looking bored as they tuned their
instruments and performed a per-
functory sound check.
None of this would be odd if
you were going to see a musical
act at some hole-in-the-wall in
Deep Ellum, but this at the
McKinney Avenue Contemporary,
and Hedwig is not the lead singer
in a rock group but a character in
a play.
Or is he?
Part of the brilliance of Hedwig
and the Angry Inch is precisely that
it blurs the line between theater
and garage band performance. It's
mostly scripted, with a story arch
and character development, but
its ethic is pure alt-rock anti-social
fun, with lots of cheesy references
to local Dallas culture that any
savvy touring band would throw
in. (The audience reacts to it, hoot-
ing and woofing less like theater
patrons than mosh pit denizens.) When
Kitchen Dog Theater's run officially ends next
month, the actors could simply move their act
to the Gypsy Tea Room and no one would be
the wiser.
Throughout the course of the concert... er,
play, Hedwig (Joey Steakley) regales us with
songs and banter that explain his predicament
— it's like a foul-mouthed version of VH-l's
Behind the Music without the commercial inter-
ruptions or ominous teases about impending
failure and ultimate redemption. As a gay East
German boy, he glamorized American culture
and fell in love with a solider. He could be
brought to the U.S. only if he got a sex change
operation, which the surgeon botched, leaving
As Hedwig, skinny little Joey bteakley
dominates the show with ferocious aplomb.
him with an "angry inch" — the remnants of
his penis. As he gets progressively drunker,
sipping cheap champagne through a Crazy
Straw and obsessing over the unfair success of
his protege, Tommy Gnosis (who, coinciden-
tally, is performing to a sold out Cotton Bowl
across town), Hedwig reveals a horrifying
world view with blistering, gorgeously
wrought songs — the empowering anthem
"Wig in a Box," the eerily pained "Wicked
Little Town," the goofy-fun "Sugar Daddy" —
that are as hopeful as they are bitter and sad.
For years, Hedwig was the alter ego of John
Cameron Mitchell who, with composer
Stephen Trask, devised this gothic modern
comedy as sort-of drag show, sort-of perform-
of
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42
SEPTEMBER 12, 2003 DALLAS VOICE
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Vercher, Dennis. Dallas Voice (Dallas, Tex.), Vol. 20, No. 20, Ed. 1 Friday, September 12, 2003, newspaper, September 12, 2003; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth616336/m1/42/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting UNT Libraries Special Collections.