There's nothing more Broadway than 'Hedwig.' It's very family-friendly. There's innuendo and stuff, but not more than you'd see on TV.
I would love for 'Hedwig' to be in every tiny shopping mall so every freakish kid like I was can have a broadening experience.
Some people go off to an ashram or they, you know, have a midlife crisis and buy a sports car. For me, I do 'Hedwig,' and I see it's a midlife crisis maybe, and I see what's next. And it's a good trampoline, maybe, into the next part of my life.
If I wanted to make a lot of money with 'Hedwig,' I could have spent all my time on it. But that's boring.
What's interesting is that some of the things I'm interested in talking about is a story which has to do with the second half of your life, which can be told through Hedwig's voice because she's older. If the timeline is consistent, she's as old as me.
Doing 'Hedwig' was so hard that I kind of burned out on acting.
'Hedwig' is unabashedly analog.
Doing 'Hedwig' totally contributed to my acceptance of myself.
'Hedwig' was born in '94. I was thinking of a theater piece; Hedwig was one of the characters.
I think I was scared of the drag thing, as a lot of gay boys are. It's sort of knocked out of you in junior high. I wouldn't find guys who were very feminine attractive. Then, doing 'Hedwig,' I got to be man and woman, really butch and really femme at the same time, and I realized, this is kind of the ideal.
I think it helped me like myself more, playing Hedwig.
