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nph-burtka:

RuPaul’s Drag Race 6x10: Drag My Wedding - LogoTV.com
Guest Judges: Neil Patrick Harris and David Burtka

Here’s a video excerpt of the judging (pt.1)

genesisfrompluto:

RuPaul’s Drag Race 610 - Drag My Wedding:

Photo 1: What?!

Photo 2: Best painting: Joslyn Fox: Love is blind!

Photo 3: Worst painting: Darienne Lake: Looks like a mix of body fluids :/

Photo 4: Eurgh this guy was the worst. I would’ve cried if I’d got him.

Photo 5: Neil Patrick Harris and David Burtka: Hottest couple ever!

Photo 6: Best runway look: Courtney Act: The resemblance was rather strong.

Photo 7: Worst runway look: Joslyn Fox: Ouch.

Photo 8: Does anyone know if these weddings were actually real?!

Photo 9: Great energy from both of them, but Adore socked it.

nph-burtka:

Neil Patrick Harris Talks Heels & Glitter at Broadway Opening of ‘Hedwig’

'Hedwig and the Angry Inch' tells the story of a fictional rock band fronted by an East German transgender singer named Hedwig.

"Well, Hedwig expects everyone to love her and worship her because she’s infinitely talented and no one acknowledges it, but they all should," Neil Patrick Harris says about the character. "So coming from that point of view, everything is fantastic for her and if someone doesn’t like her, she’ll cut ‘em," he jokes.  

About his over-the-top wardrobe, Neil says the heels are "weirdly fun" and automatically change his whole stature on stage. He also revealed that since the play is plentiful with glitter, this means the sparkle dust also manages to make its way home, where he lives with his husband David Burtka and 3-year-old twins. “I try to keep the glitter away from them — they’re right at the age where they think more is better.”

Watch the video for more, including David Burtka explaining how he’s dealt with Neil’s feminine transformation for his new role.

Source: etonline.com & AssociatedPress

nph-burtka:

RuPaul’s Drag Race 6x10: Drag My Wedding - LogoTV.com
Guest Judges: Neil Patrick Harris and David Burtka

Here’s a video excerpt of the judging (pt.2)

Sex, Drag and Rock & Roll: Neil Patrick Harris Talks 'Hedwig'

nph-burtka:

Sex, Drag and Rock Roll: Neil Patrick Harris Talks ‘Hedwig’

By DAVID FRICKE: 

Despite the stamina he needs nightly for Hedwig, Harris – who is on stage talking, singing or jumping in heels for all of its 90 minutes – gave up part of his dinner break to talk about the show for a story in the current issue of Rolling Stone. Here is more about how he met Hedwig, the cult mother of rock musicals.

What parts of Hedwig appealed to you as an actor? And what parts, as someone coming from outside rock and drag, did you have to grow into? 
I’ve always been one to strive for precision in what I do, whether that means building an IKEA bookcase or through my love of magic, of juggling. It’s precision-based stuff. Barney Stinson [on How I Met Your Mother] had to do the craziest stuff and ground it in an authenticity that didn’t undermine the pathos around him.

Hedwig is the opposite in every way. The makeup is supposed to get messy as she goes on. The awkward postures are more effective than the pretty ones. It’s not a show where everything is locked and set in stone. That alone has been very challenging for me.

I’ve never walked in heels, really. I guess I did in Cabaret for a hot second [laughs] but certainly not at this level. There have been body awareness things for me as well. But I like to do physical stuff. I love Cirque du Soleil and [the New York interactive show] Sleep No More. The things I’ve been most impressed by involve some sort of dexterity.

Stephen Trask told me that for awhile, in rehearsing your entrance – where you jump from the hood of a car – you were leaping from the roof instead, in those heels. 
I realized very quickly that although I could do that, I probably shouldn’t night after night. If I get a stress fracture in my toe, I’m kind of fucked.

Were there songs that took awhile for you to conquer? Hedwig has a variety of voices for a gamut of styles: ballads, punk bullets, epic pounders. And you weren’t coming into this as a seasoned rock singer. 
Stephen is a fantastic musical mentor. He loves explaining his decisions in the music, the people who helped define who he was. I could ask him, “Who are you using as your inspirations here?” He would tell me – “A little bit of B-52’s and Ramones here” – and I could research them individually.

Michael Mayer said that you watched a lot of Tina, Iggy and Bowie videos. What did you learn about the physical expression in rock singing, especially for a woman? 
It’s a lot more frowning and a lot less looking up at the spotlight and smiling [laughs]. Musical-theater performers have that wistful, earnest look, right at the horizon. I love watching it and doing it. But this is not the show for that. When you look at Tina, she’s in it – sweaty, twitching her mouth making oooh’s while her legs are making aaah’s.

During rehearsals in New York, you played a surprise club gig with the Hedwig band, minus the makeup and heels, at the Mercury Lounge – your first rock show for a paying crowd. What was that like? 
That was rad – far nastier than I thought it would be. The buildup was terrifying – going out as myself. I need some sort of story or structure. Just singing songs was revealing too much of the fact that I didn’t know what the fuck I was doing.

You and everyone else who’s ever been in a band, going on stage for the first time. 
That’s what I learned. You notice it on American Idol, when someone who is very talented is unsure in their own core. You want to shake them and say, “Do whatever you want to do. You’re gonna be fine.”

At a rock concert, they’re not sitting there with their arms crossed. They’re out for a fun night. They’ve got four drinks in them, and they want to dance, to have fun. What I thought was a ton of pressure was void of pressure. You could jump around, point to someone, throw water, do whatever you wanted. It was a nice exhalation.

If there’s one odd aspect of Hedwig as theater, it’s that the audience watches it sitting down. Even at Jane Street, when Hedwig and the band were kicking it, my instinct was to get up and move.
We’ve talked about that a lot. The people in the mezzanine and balcony are more of the diehards. You can see them leaning forward, shaking their shoulders. They want to get up. But it’s not the right time. I would love to have a show like that – maybe a Saturday-night late show.

Take the seats out. 
That would be crazy town – have them up the whole time.

It has to be exhausting for you in any case – you are on stage the whole time, the center of the story and action. When you’re not singing, you’re railing in that German accent. 
It is exhausting, but only the following day. But the exhilaration of getting to do it – it’s a train that doesn’t stop. As a piece of art, it is profound. But I’m allowed to be the train conductor – slow it down, go out of control, veer around. And Neil enjoys that power as much as Hedwig. It’s fun to be there, in a giant number with strobes and massive craziness, then get to do something small and slight and have people affected by that.

I just hope I don’t destroy my body before my committment is done.

Iggy Pop has survived a lot worse. 
That’s true. This is worth a couple of bangs and scrapes to do this every night.

Read more: rollingstone.com

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