John Cameron Mitchell is no stranger to the transformative power of the perfect wig. At 63, the Broadway legend remains best known for his punk-rock musical Hedwig and the Angry Inch, which charts the rage-filled escapades of genderqueer glam rocker Hedwig. Unlike the typical musical, the story unfolds in gigs, with Hedwig explaining her origins, failed sex-reassignment surgery, and current vendetta all while donning rock-n-roll updos, colored tresses, and gravity-defying hair pieces. The musical premiered off-Broadway in 1998, and while the film adaptation was initially considered a commercial flop, Hedwig has since become one of the most important queer cult classics in the Broadway canon.
The Enduring Legacy of Hedwig
“Hedwig, when we first did it, Broadway was not welcoming,” Mitchell says. “We knew we would never be accepted on Broadway, just like the film wouldn’t probably be up for an Oscar, because it’s too queer. Too punk. But that didn’t dissuade us.” This year marks the 25th anniversary of the project, and Mitchell is celebrating by taking a swing at another queer Broadway offering: the Tony-Award winning play Oh, Mary!
Stepping Into ‘Oh, Mary!’
Backstage at the Lyceum Theatre, Mitchell prepares to become a drunken, horny, and borderline psychotic version of former First Lady Mary Todd Lincoln. Written and originated by Cole Escola, Oh, Mary! has evolved from an Off-Broadway longshot into a Broadway staple. Mitchell notes that the character is flexible, allowing for varied interpretations by stars like Jane Krakowski, Jinx Monsoon, and Titus Burgess. “Call me old fashioned, but I get excited when I see full-on talent unimproved by technology,” Mitchell says. “Broadway is one of the places where you can’t hide.”
Mitchell draws on personal inspiration for the role, noting a connection to his mother, who navigated a man’s world as an artist and mother of four. “She was a conservative woman, but that didn’t stop her being furious at the fact that women were second-class citizens,” he explains. This blend of humor and frustration informs his portrayal of Mary, a character he sees as a self-taught autodidact whose performance is constantly on the verge of collapse.
Reflecting on a Career in Drag
When asked about the similarities between his two iconic roles, Mitchell points to the shared struggle for recognition. “They’re both crushed by closet cases, if you think about it,” he says. “They’re both angry women who didn’t get their due, and they’re shitting on a lot of other people because of it.” As he tours with a 25th-anniversary screening of Hedwig, Mitchell remains philosophical about the show’s longevity. “When it’s not mass produced, when it’s not capitalism ramming it down your throat, it stays. It sticks longer. It lasts your whole life.”