Hedwig storms onto" East Bra"

                                 "I was born on the other side

                                  of a town ripped in two

                                   I made it over the great divide

                                      now I'm coming for you"

Neil Patrick Harris explodes back onto Broadway, or as Hedwig proclaimed on this night " East Bra", in the opening number " Tear Me Down" and she never lets up for an emotional and celebratory 85 minutes of one of the best rock operas ever written.

Hedwig and the Angry Inch takes back this wicked little town by searing this inspiring cult phenomenon into the collective consciousness of a new and broader audience, while remaining true to it's origins and die hard fans and not sugar coating a thing. This new revival, with  book by John Cameron Mitchell and music and lyrics by Stephen Trask, of the off Broadway production is now front and center with a 21st century Hedwig, who has never gone out of style, reincarnated in an electrifying performance by Mr. Harris.

                                         After the first Saturday 10:00 PM show.

This work with its universal themes of searching for self, traumatic suffering, survival, love, and rebirth , weaves these complex emotional motifs with some of the most original rock music to hit the great White Way. Music that draws off the raw power of early punk and classic 1970's glam rock and for good measure throws in a beautiful ballad that would make Phil Collins envious.When one considers Hedwig's dual past, first there is the original off-Broadway show and second the cult classic film, starring and directed by the incomparable John Cameron Mitchell. So why tamper with perfection? Well folks this show was always destined to reach Broadway and its messages  are needed more now than ever.

I won't give too much away but as it has  already reported Neil's Hedwig is ready to interact with the audience spontaneously and with biting sarcasm. I highly recommend that you do not walk in late for the 10:00 PM performance as you will come under the full scorn of Hedwig's eye as she calls you out in her sultry German accent " How can anyone be late to a 10 o'clock show?"

The stage direction by Michael Mayer is in your face and raw but equally intimate and insightful. To this reviewer what propels this show to greatness is the lighting by Kevin Adams, which embraces the best of both worlds. Allowing your eyes to indulge in the spectacle and hues of live performance rock as well as the emotional nuances of a dramatic musical.

                                          The Hurt Locker Musical?

Hedwig's partners in crime are  Yitzhak, the multi-talented and glorious Lena Hall, and her band the Angry Inch. Featuring guitarist and musical director Justin Craig, bassist, guitars, keyboards Matt Duncan,  guitarist Tim Mislock, and drummer Peter Yanowitz who are all exceptional and understated in their stage presence.This band lets the music speak their dialogue and not their wild hair. 

Foremost this show is about the music and this sextet soars and rocks as they perform a re-worked glam rock version of " Sugar Daddy" to a ripping orgasmic version of " Exquisite Corpse". If you are a  rock fan you will be  very pleased as the music is load and clear...oh what a great sound system will do. This ensemble also provides luscious rich harmonies which are showcased in the reprise of " Wicked Little Town".

If you are a traditional Broadway fan you might subscribe to that old belief that " the music should never be louder than the voices"...well prepared yourself for a "Tommyesqe" journey and rock out with the rest of the audience and leave your inhibitions at the door.

Neil brings all of his professional tools and gifts to this memorable performance. From his torch light rendition of " Wicked Little Town"   to a moving interpretation of " The Origin of Love" Mr. Harris has moved the goal posts considerably.

Lena Hall is her Romeo, or better yet her Yitzhak, and brings street cred to mainstream audiences with a complicated and endearing transgender character. Ms. Hall especially shines on " The Long Grift" which painfully documents Hedwig's world as it starts to come apart, but just as quickly Neil's serenades us with a deeply moving and confessional " Hedwig's Lament". Despair quickly disintegrates into  one more release of rage as Hedwig moves closing to become whole again and finding her/his true self as the mind bending " Exquisite Corpse" has Hedwig leaving it all on the stage.

Audiences may have trouble  following  Hedwig's final transformation as  it may have been necessary to give more details to how we got there but working in one act may have made that a challenge.

The rapturous " Midnight Radio" will leave you beaming from ear to ear and celebrating with Hedwig and Yitzhak as you have just witnessed the best thing happening on Broadway at this moment.

I will note that Neil's Hedwig is buff, very buff, in this role. The physicality that the role demands possibly could not have afforded anything less but to to this reviewers eyes JCM's Hedwig was gorgeous and more feminine.

Neil's Hedwig is harden and almost too masculine at times and a magnified exaggeration that would almost suggest a bad drag queen...which we all know Hedwig would never be. Regardless the end destination for both Hedwig's is the same and as equally moving. 
                                 "Breathe feel love
                                       Give free
                                  Know in your soul
                                  Like your blood knows the way
                                  From your heart to your brain
                                  Knows that you're whole"

                                           Lena Hall working that line.
  

  

Studio 59~ A cultural renaissance yearning to be discovered

It is always wonderful when you come about to something new and refreshing. That discovery is even more rewarding when it becomes a moving cultural and musical experience. Much gratitude goes out to a brief mention in the weekend section of The Registrar Citizen, which I came upon just by chance at work, I discovered a new and wonderful oasis that had gone unnoticed to me and my partner, and I am sure for many others for far too long...Studio 59.

Nestled on a quaint unassuming street in Torrington your host, creative director, and proprietor Timothy Alexandre Wallace will warmly greet you as your climb the steps of this  Victorian era former church.

On this snowy February night I attended with my sweetie to celebrate Valentine's Day  and to enjoy  Mr. Wallace perform the program Rachmaninoff the Romantic.

Stepping inside this spectacular space you are  greeted with an abundance of Victorian inspired charm with warm inviting winged back chairs, shelves of antique books that range from the Greek classics, to the great English poets to New Age  books on Atlantis. There is a mishmash of beautiful throw rugs, numerous candelabras,two roaming cats, luscious plants, eclectic medieval inspired wall hangings and Tiffany and Art Deco lamps galore.

You are also entering Mr. Wallace's personal home as well as his performing space and the details of his decorating nearly cover every inch of this inviting space, one which you could spend hours investigating and being delighted at with what you discover. At the center piece of this grand room is his majestic Steinway piano. I have to add his kitchen was a delight as well and he served his guests on this night a variety of sweets and a wonderful tea punch.

Mr. Wallace is as equally a generous host as he is a virtuous on the piano. He is also a passionate resource of endless insights into the music that he loves and performs. He began this magical night by humbly introducing the program and sharing the historical significance of the great Russian composer Sergei Rachmaninoff. (1873-1943) His demeanor is both sincere and self-effacing, he is also a teacher of music and that quality shines through in his approach to relating the music to the audience. Mr. Wallace is also passionate and laughs frequently as he was brutally honest about the challenges of playing any of this master works.

 

I am far from an expert on classic  music but I do know great music and playing and right out of the gate Mr. Wallace plunged in with joyful abandonment and precision into Preludes, Op. 23 (composed 1901-03).

The second piece of the night No. 4, D major: Andante cantabile was stunningly beautiful as it was transforming as you hung on every sweet note.

Another thrilling highlight of this evening was Mr. Wallace breath taking set ending explorations of Etudes Tableaux, Op. 33 ( composed 1911)  both No. 7, G minor: Moderato which was haunting and No. 9 C Sharp minor: Grave which was exquisite in its reach and mastery. 

A short intermission ensued and that gave us pause and the chance to wander around the space and mingle in the kitchen. The evening closed with the final set as we were treated to more of the soul moving Russian Romantic master.

I have to say the most  moving piece came near the end of the set as Mr. Wallace blew us away with his reading of Etudes Tableeaux, Op. 39 No.5, Eminor: Appassionato. In this piece you see hear a transition in Rachmaninoff's composing as he clearly introduces  the influences of music from America, hints of ragtime interposed with an almost Bernstein- Copeland twist are a  refection of the changes occurring at the dawn of the 20th century.

For the final piece Mr. Wallace played possibly Rachmaninoff's most familiar piece Rhaspsody on a Theme of Paganini, Op. 43 18th Variation. But first he treated us to playing Paganini's original theme to give us the scope of and depth of Rachmaninoff's interpretation. The piece was elegant as it was simple.

For the encore Mr. Wallace treated us to a piece of improvisational classical music, a personal passion of his and quite rare these days. He later explained to me that it has  sadly become a forgotten piece of classical music history as both Brahms and Mozart were quite  renowned for this type of spontaneous playing.

Mr. Wallace prefaced, this never performed piece, by  sharing that after playing the works of Rachmaninoff his influence would spill over into this composition.

It surely did and it was a joyous and moving composition that danced between the past and present, joy and longing, greetings and goodbyes, and left all of us smiling and reflecting on the beauty of creation as well as the fleeting quality of life as sadly this piece would be never be performed or heard of ever again.

Bravo! Mr. Wallace.