Brightest Young Things

Have you ever watched something that was so intense that you were afraid to blink, lest you miss one second of the action? Not uncomfortable-intense, like Munich, say, but fascinating- and beautiful-intense, like Eternal Sunshine of the Spotless Mind. Or like Signature Theatre's I Am My Own Wife.

The piece tells the playwright's (Doug Wright) own story of interviewing and writing a play about Charlotte von Mahlsdorf, a German transvestite and antiques-collector who existed (and at times, flourished) during two of the most oppressive regimes in recent history, the Nazis and the East German Communists. We are to believe the course of von Mahlsdorf's life was thus: a precocious young boy puts on his aunt's dress and finds his (now, her) true self, murders her father, collects gramophones, records, and various antiquities, turns her home into a museum, relocates a gay-friendly Cabaret to her basement, becomes an informant for the Stasi, and fences old clocks. The story is incredible and as true as Wright wants it to be, although we see him struggle with the holes in von Mahlsdorf's tale after uncovering her Stasi file (which indicates that she was a willing and cooperative spy, denouncing her friends and colleagues). The intrigue unfolds with the help of 34 supporting characters, all played by the frighteningly talented Andrew Long.

Wright has created an exceedingly complex narrative that requires an actor to ably portray men and women of various nationalities and languages (much of von Mahlsdorf's text is in German, neatly translated to English in the same phrase). And Long is that actor. He brings himself to the brink of tears and then swiftly changes characters, reorganizing his features to carry on the other half of the conversation. The affect is that of watching a schizophrenic on a train platform, but in this case, one that is telling a heart-breaking tale with the support of beautiful lighting, scenery, and music.

It's an incredible risk to have Long wear a black dress, a kerchief, and a string of pearls for much of the show and to expect the audience to believe in the increasingly diverse cast appearing before them. And it's incredibly effective. Long has a knack for embodying characters so fully that additional costuming would likely distract from watching him work. With a lowering of his eyelids, a pursing of his lips, a shift in his weight, Long confidently guides us through the intricate plot. His most developed character was, predictably, von Mahlsdorf, and her frequent appearance excused any slight issues with the rest of the cavalcade (I didn't care much for the fawning presence of the "character" of Doug Wright, for instance).

As a whole, the piece is breathtaking--at times, literally so. I'm not one to cry over seeing a plastic bag being taken by the wind or anything (ahem, Wes Bentley), but I was absolutely transfixed by I Am My Own Wife. It's a fascinating story told with much grace. And much beauty.

I Am My Own Wife runs through March 7 at Signature Theatre. Written by Doug Wright and directed by Alan Paul. With Andrew Long.

Previously in Live DC:

• 2/13: LiveDC: George Clinton & The Parliament-Funkadelic @ 930 Club
• 2/13: LiveDC: Veronica Falls/ Brilliant Colors @ Black Cat
• 2/13: LIVE DC: Steve Aoki/ Datsik/ Alvin Risk @ Fillmore
• 2/13: LiveDC: The Darkness @ 930 Club
• 2/9: LiveDC: Theophilus London @ 930 Club
• 2/9: Best Weekend Bets
• 2/8: LiveDC: Kathleen Edwards @ 930 Club
• 2/8: LiveDC: Thurston Moore/ Kurt Vile @ Black Cat
• 2/8: LiveDC: Thurston Moore/ Kurt Vile @ Black Cat
• 2/7: LiveDC: Demetri Martin @ Warner Theatre