I got to see both Hodge and Fierstein and getting to compare their two approaches was very enlightening. (I may be hyperbolic, as time has passed so too does the memory harden into shape, so forgive if I overstate.) Hodge played the whole role as levels of artifice; everything about him, his physical manners to his phrasing and vocal techniques felt cribbed from other, female, performers. He was a man trying desperately to live in someone else's skin, which made "A Little More Mascara" and "I Am What I Am" hit on such an emotionally satisfying levels (for different reasons, respectively.) He also was blisteringly funny, with impeccable comic timing and effortlessly ruled the stage (when he wasn't shrinking in complete dissatisfaction with the man he actually was.)
Harvey, simply put,
was Albin. He played the role with a command and authority that, even though he wasn't as manic and desperate for approval as Hodge's Albin was, earned such sympathy it was undeniable. It felt almost as if he wasn't even playing a character, the role came so natural to him (and why shouldn't it? He wrote the book!)
I found, personally, that I preferred Hodge's interpretation as a performance, but was incredibly satisfied by Fierstein's total ownership of the role.
All in all, it was just a great revival of the show.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Updated On: 12/23/13 at 09:08 AM
