Dallas Voice (Dallas, Tex.), Vol. 20, No. 20, Ed. 1 Friday, September 12, 2003 Page: 43 of 68
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ance art, sort-of who knows. Many other actors
have assayed the role, but Mitchell will always
be identified as its fountainhead. When a show
lives or dies on the actor playing Hedwig,
tackling the role at all can seem a fool's errand
— will he be a mere clone many generations
removed, or try to redefine the part entirely
and satisfy no one but himself?
Thankfully, Steakley proves to be perfect
casting. He has Hedwig's distinctive look and
sound without mimicking Mitchell's phrasing,
and makes the character his own. (Director
Tina Parker helps out immeasurably by
adding enough Texas-based jokes to make this
production unlike any you would have seen
elsewhere.) His slow, self-pitying breakdown
over failed his relationships, cruelly insulting
his current lover, Yitzhak (Laurie McNair), is
both uncomfortable and weirdly energizing —
as drama, Hedwig can be as rewarding as a
Shakespearean tragedy.
Last year, Steakley made a stunning debut
in KDT's Barbette as an otherworldly, androgy-
nous trapeze artist. Hedwig shares the same
sexually ambiguous nature and both show the
wounds of a broken heart, but otherwise the
similarities cease. Hedwig is bilious and
frontal, with a perverse sense of black humor
("Welcome to Croatia — cleansed just for
you," he morbidly quips), but he's also a softy,
with a heart as big as his hair. Steakley's obvi-
ous talents as a singer and actor make him
exciting to watch like few actors I have seen.
(He's also astonishingly thin — someone
needs to feed that boy some red meat.)
Steakley dominates the show, but he's well
supported by a terrific band (led by music
director and keyboardist Stephen Shelton
Kirkham) and McNair's convincing,
bewhiskered cross-dressing turn as Yitzhak.
Parker's hand as a director is light, letting the
show seem organic, like a real concert, while
adding flashy touches. After some disappoint-
ments last year, Kitchen Dog starts its 14th sea-
son with a thunderous clash of indie rock
anger. That's just what Dallas theater needs. T
The MAC, 3120 McKinney Avc. Through Oct.
11, Wed.-Sat. at 8 p.m. $15-$25214-953-1055.
Exquisite corpse
Sam Shepard revisits sibling rivalry in The Late Henry Moss
Sam Shepard has always
had issues with the relation-
ships of siblings, but while
two brothers mostly just
quarrel in True West, in his lat-
est play, The Late Henry Moss,
Ray (Matthew Hutchens) and
Earl (Matthew Posey) tor-
ment one another over the
moldering body of their dead
dad (Bruce DuBose). They
have reasons for their resent-
ments, and in the tradition of
American realism, the rea-
sons reveal themselves explo-
sively.
Shepard s persona is the Matthew Hutchens, left, and Matthew Posey play
si ent oner, ut as a p ay brothers dashing over their father's death.
wright he revels in language
— his characters are more talkative than he's palpable desperation ooze sadness and con-
ever been. Luckily, director Katherine Owens tempt, and Posey doesn't strike a false note,
has assembled an ideal cast who know how to but Aaron Gallagher, as a befuddled cabbie,
make his words sear images upon the brain, almost steals the show. That says a lot in this
Everyone is simply terrific: We don't know powerhouse production. ▼
anything about Ray when we first meet him, Undermain Theatre, 3200 Main. Through Sep.
but Hutchens — teary-eyed, intense, tough- 27. Tue.-Thu. at 7:30 p.m., Fri.-Sat. at 8:15 p.m.
ened by a low center of gravity — makes us $15-$25. 214-747-5515.
want to know more. DuBose's waxy pallor and — Arnold Wayne Jones
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DALLAS VOICE
SEPTEMBER 1 2, 2003
43
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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/m1/43/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting UNT Libraries Special Collections.