Head over Heels for Hedwig

Hedwig and the Angry Inch : Theater Review / NY / Broadway / Time : 2014 Spring

By Rory Winston

What would I be writing if Hedwig and the Angry Inch was the name of a real band rather than the fictitious one in the play of that title? Since suspension of disbelief rarely gets easier than when one is under the spell of Neil Patrick Harris, let's begin with our very own mock-rock concert review:

Born of the rubble that had once been the Berlin Wall, the heavily underpublicized glam-meets-punk rock band Hedwig and the Angry Inch hijacked the Belasco Theatre last night in an once-in-a-lifetime performance that showed New Yorkers that tearing down the walls of gender and musical genre alike is still one of the best ways to ‘bring down the house.’ But how did a spin-off project that had recently been no more than the supporting band for rock legend Tommy Gnosis get booked in one of the most prestigious houses on the Great White way? The story seems as twisted as the transgender East German lead singer of the band.

OUR MAN ROLLINS

71ba
By Rory Winston

Look forward in anger: a fitting battle cry for stand-up raconteur Henry Rollins, the punk patriot who continues to wave his symbolic Black Flag behind enemy lines. Though the band of that name has retreated into history, Rollins refuses to surrender to either unfocused rage or age. Instead, he has become a lean, mean, top-billing comic machine, who has vented his outrage into a spoken-word performance that has taken much of Europe by storm.

Though his recent Scandinavian tour is part of a promotion for his IFC network show, “Henry Rollins,” the unflagging Renaissance man successfully exports more than just a TV show. He is a self-described “bad boy goodwill ambassador” who reassures the wary: “The U.S. majority is not synonymous with the moral majority; and our pop culture is not as feeble as our incumbent president’s speaking skills.”