Within the past couple of months, you may have come across a billboard of Neil Patrick Harris donning smoky eye makeup; his face dazzling with shimmering blue glitter as he embraces his glam side in what many would consider a slight departure from his previous roles. Sporting an array of wigs and sexy ‘rocker chic’ costumes, NPH plays John Cameron Mitchell’s beloved title character in the latest Broadway revival of Hedwig and the Angry Inch. Initially opening off-Broadway in 1998, the show starred Mitchell, who also wrote the book and subsequently played Hedwig in the 2001 film adaptation. Opening for previews last March, the latest theatrical version of the cult musical franchise welcomed a wide reception of both audience and critical acclaim. So much so, in fact, that it was recently nominated for 8 Tony Awards: including Best Musical Revival and Best Performance by an Actress in a Featured Role (Musical) for Lena Hall. Despite being a seasoned Broadway alum (appearing in such musicals as Tarzan, Cats, and Kinky Boots), this is the first Tony nomination for Hall—who stars alongside NPH as Yitzhak; Hedwig’s loving Eastern European husband and fellow bandmate who gave up everything to be with the star and is now beginning to embrace his own femininity, after feeling inspired by the character of Angel in Rent. Although the show centers on Harris, Hall’s stellar performance has certainly garnered an enthusiastic fanbase, which isn’t surprising given her earnest commitment to the physical and emotional demands of playing Yitzhak.
“I never thought of drag as having to be a transition from one sex to the other; to me drag is simply a transformation where your former self is no longer recognizable.”
In the weeks before its official April premiere, I had the opportunity to interview Hall; who reflected on the challenging audition process, drag’s intimate relationship with Broadway, and the obstacles of playing a trans woman as a female actor. Heading back from rehearsal with Mitchell and NPH, Hall candidly opened up during our phone conversation—and thanks to her bubbly charm, our banter quickly ranged from discussing Hall’s admiration for trans porn star Buck Angel, to casually entertaining the idea of a Nirvana musical.
That’s quite the transition from playing an uptight yuppie in Kinky Boots to a “trans curious” rocker in Hedwig. What appeals to you about Yitzhak as a character, and what drew you to this role?
Yitzhak is a mysterious character; he has a lot of walls around him, and I wanted that challenge. It’s so much harder to play a character with little dialogue to cue the audience in on who they are—so it’s definitely a physical transformation that has to happen for me, and within that physicality is an extremely emotional role. Since I first saw the show at The Jane Street Theater around late ’99-early ’00, I fell in love with its message, and was particularly drawn to Yitzhak as a character.
I read how you blew everyone away with your audition, where you came in drag and were completely in character the whole time. How did you come up with the idea to make a fake Kickstarter video as Yitzhak for your audition?
I came in for John Cameron Mitchell before the final callback, and I brought in my own electric guitar because I knew Yitzhak was a roadie. They said; “When you come in for the next audition, we want you to do improv and we want you to be in character from the minute you walk through that door to the minute you leave. Tell us a joke, a story or read an obituary in character.” So instead of looking for something that fit this criteria—which would have probably taken more time—I thought that I would just write as if Yitzhak took the ideas of what Hedwig had for her show, and made it their own. I basically created a Yitzhak version of that dark, tragic humor. I remember Yitzhak looking up to Angel from Rent, and drawing in from my past experiences on Broadway; I incorporated these stylistic elements into a fictional Kickstarter video. The thoughts just started coming to mind organically.
During your rehearsals for the show, you had stated how you were going to wear a prosthetic penis, and how you didn’t want your picture or any pronouns to be included in the Playbill. Would you say you’re approaching this character from a perspective of method acting?
I’m trying, but there’s only so much I can do since I’m not a method actor. I’m the type of person where I really have to see the whole picture before I can get into character—so once I was in costume from head to toe, I just became Yitzhak and was Yitzhak. It’s hard for me to totally commit to a character when I’m not done up, because that physical transformation isn’t there. So I wear a wig and a prosthetic everyday to rehearsal—an entire outfit that makes me feel more masculine, and my body language changes accordingly. So I don’t know if that’s necessarily method; since I’m not eating, breathing, and sleeping the character or speaking in a Slavic accent at home [chuckles]. Plus, I have my limitations in truly letting go because of the ending; which requires me to preserve some aspects of femininity. So it’s important for me to toe the line between the two.
As an actor, do you think that the transformation of drag—or otherwise physically embodying the ‘other’ gender—wields this personal or cultural liberation?
For non-gender normative individuals like Yitzhak, there is definitely a liberation because they are staying true to who they are. In fact, this reminds me of a documentary I recently saw on the transgender porn star Buck Angel. It was honestly the best thing I’ve ever watched [chuckles], because he is sincerely staying true to who he is. He never opted for bottom surgery because he knows that having male genitalia or the lack thereof doesn’t necessarily define him as a man. And while many people would claim that he’s confused about his identity, this is not the case at all. He knows exactly who he is, and he is embodying that—which is definitely liberating.
In many ways, your role of Yitzhak is similar to Felicity Huffman’s character in Transamerica, where Huffman also plays a transgender woman. How does playing a man differ from playing a man who [to some extent] transitions into womanhood? Is it more difficult to embrace that element of dual transformation?
I would say the biggest difference is that inability to completely forego your feminine side; which can’t be entirely suppressed, just covered over very lightly. You have to take that slight femininity and incorporate it into however masculine your character is. It’s difficult to answer this straightforwardly because there is such a spectrum within the trans community, and so many nuances to this internal form of identity.
Prior to Hedwig, you were in Kinky Boots, which also has a non-gender normative storyline. Do you think that musical theater has always been intertwined with glam and drag?
Yes. [chuckles] I mean, even women playing women are in drag to some extent because you have to put on so much makeup, along with such dramatic costumes and hairstyling. Anyone who dresses up that much—with so much “stuff” on—is in drag no matter what, you know? I never thought of drag as having to be a transition from one sex to the other; to me drag is simply a transformation where your former self is no longer recognizable.
In addition to being the lead singer of The Deafening, you have former experience with hard rock through Empire, Rooms, and Toxic Avenger. When were you first drawn to this musical genre?
Since I was a little kid, my parents always played Jimi Hendrix or Janis Joplin at home. I mean, I did listen to a lot of classical ballet-type music, but I was always drawn to the cool rock ballads of my parents’ records; so growing up I was definitely exposed to a lot of rock music, and I loved it. Although I kind of lost track of it for a while when I went off on my own and did theater in NY. It wasn’t until I moved to LA a couple of years later—where I would often listen to classical rock on the car radio stations—that the passion was reignited in me. And once I returned to NY, I just felt the urge to join a rock band. Coincidentally The Deafening had randomly contacted me on MySpace [chuckles], saying they were looking for a female lead singer. How perfect is that?! I love musical theater, but my rock band allows me the purest form of self-expression.
So would you say you were in your element with the soundtrack of Hedwig?
Definitely. The glam rock ballads are so much a part of me, and everyday I’m grateful to be a part of this project. I’m personally drawn to Hedwig’s story and to the character of Yitzhak, which is why I tried so hard during the auditions—I couldn’t imagine someone else getting the part I wanted so badly!
And it payed off!
I guess, although it seems like everyday you fight for your role. And right now I’m navigating the challenges of telling a story with my body, because it’s easy to convey emotions during the musical numbers since the lyrics are so powerful. However, it’s those moments of silence that are tricky. But it’s a fun challenge.
In a recent interview, composer Stephen Trask said that when Hedwig first came out, there wasn’t a demand or appetite for rock in musical theater. But with recent productions such as Rock of Ages and American Idiot, do you think that the climate of Broadway has shifted to allow for more rock?
It all really depends, but I do think that more doors are opening for this genre. And certainly with Hedwig, audiences have been more receptive to the “harder” rock tracks. If there’s ever a time to do the “Courtney and Kurt Cobain” love story, I guess it’s now [laughs] because audiences would be interested in hearing Nirvana’s albums again.
Do you still get pre-show jitters before going onstage, or have you shed those nerves?
No, I definitely do (although not as bad as before auditions)—but I guess those nerves are taken care of with a pre-show ritual. I’m a creature of habit, and before every show I drink an iced tea…I don’t know, there’s just something very comforting and ritualistic about it.
You recently played Miranda in the Sex and the City movie. Do you plan on doing any other crossover work into film?
That’s interesting you ask because at some point after Tarzan, I had grown tired of theater. It just wasn’t feeding my creative soul anymore, and luckily my band came into play and helped me with that. It was at this point that I focused most of my energy on The Deafening and film projects; but after a while I started to miss being able to tell a complete story every night on stage. I certainly love both avenues, and even though it’s difficult to do 8 shows a week, you feel so gratified after each show. And it’s a little bit more difficult to achieve that gratification with film and TV, but I do love how [unlike theater] it’s preserved forever.
Any upcoming projects you’re working on with The Deafening?
We have a single coming out that’s a pop rock anthem. We have a great sense of humor about it, and I’m excited to begin shooting the video! I’m also collaborating with Holly Knight on some solo singles, and The Deafening is working on a full album. There’s a lot going on, but at this point it’s all behind the scenes!
Directed by Michael Mayer and composed by Stephen Trask, Hedwig and the Angry Inch will be on Broadway through the end of August, and you can see if Ms. Hall takes home the trophy when Hugh Jackman hosts the 68th annual Tony Awards airing this Sunday, June 8th on CBS.
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