Hedwig holds a place unmatched in the queer music theatre cannon. This is the story of “internationally ignored song stylist” Hedwig Schmidt, an East German rock n’ roll goddess who demolishes the theatrical fourth wall in an 85 minute straight to audience rock concert experience. She has had her heart broken twice and also happens to be the victim of a botched sex-change operation which left her with an “angry inch” (or in the words of the song: a mound of flesh where my penis used to be and my vagina never was).
Hedwig was originally devised for an underground New York drag-punk club in the mid 1990s. Its then became an alternative, off-broadway hit, followed by a hit cult movie. I first saw it in 2014’s slick, flashy, Tony winning revival starring Andrew Rannells, who had succeeded Neil Patrick Harris’ Tony Award winning turn in the title role. The role was subsequently covered in that production by a series of stunt castings including Dexter’s Michael C Hall, Taye Diggs and 2025 Tony winner and Glee alum Darren Criss. I reluctantly bought a ticket to Hedwig in 2014 after having seen (and not loved) the movie. I came out of that show at the Belasco Theatre in New York a bona fide Hedwig mega-fan. I was blown away by both the performances and the impact of the story.
I was equally trepidatious when I arrived at Carriageworks for opening night of this production last night – not because I didn’t really like the movie, but because the 2014 production remains one of the most impactful, memorable and moving theatrical experiences of my life. I was worried that nothing could equal what I had already seen and thought was pretty well perfect.
What I saw in 2014 was dynamite. The production of Hedwig that I saw last night reached stratospheric heights that I have never witnessed on Australian musical stage.
This brand new Australian production is faithful to the original off-Broadway – very stripped back, and housed beautifully in Bay 17 at Carriageworks in Redfern. Whatever you think you are about to see when the electric guitar begins to play Star Spangled Banner, think again. Hedwig and the Angry Inch defies all expectations and this production particularly sets a new standard for alternative Australian musical theatre. And let me say that standard is world class – production, performances, tone, staging and emotion. Never have I seen a story told with such power and grit.
Co-Directors Shane Anthony and Dino Dimitriades deliver a genre-defying sensation following critically acclaimed seasons at the Adelaide Cabaret Festival and in Melbourne. They understand the material. They understand and care for the character and have enabled their cast to deliver what I believe will be their career-defining performances.
Seann Miley Moore is electric as Hedwig, wringing every possible emotion out of the appreciative opening night audience. Their perfectly timed delivery of John Cameron Mitchell’s book was nothing short of a masterclass in how to flip from dark comedy to heart-felt pathos and have the audience behind you the entire time. Their vocals range from powerful and thundering rock (Sugar Daddy and Angry Inch) to sweet and lyrical (Wig in a Box and Origin of Love). Seann’s stage presence is magnetic and they sing with the most intense emotion straight through to the audience’s heart and soul. Their relationship with us is co-dependent – they need us just as much as we need them. Indeed the performance is fuelled by the audience’s energy which creates a really interesting audience / performance relationship. SMM is both enigmatic and charismatic and this role has cemented them as a bonafide superstar of the Australian musical stage.
Adam Noviello plays Yitzhak, Hedwig’s long suffering, oppressed partner and back-up singer. Noviello is hilarious delivering their deadpan lines direct to the audience. They are venomous and spiteful in some scenes with the title character but we can’t blame then for it and instead feel sympathetic towards them. Noviello’s sublime vocals, towing height and strong performance is captivating – gaining the audience’s sympathy and compassion. (Incidentally Noviello also covers Hedwig and I would love to see their interpretation of the character).
The Angry Inch are very capably lead by musical director and keyboard player Victoria Falconer who is joined by Glenn Moorehouse (guitar), Felicity Freeman (bass guitar) and Jarrad Payne (drums). Indeed the Angry Inch are just as much characters as Hedwig and Yitzhak and do their job beautifully.
Special call out too, to Costume Designers Katie-Louise Nicol-Ford and Lilian Nicol-Ford who deliver a new interpretations of the iconic Hedwig costumes that help drive the story forward – especially the wig coat worn in Wig in a Box.
The cast received a well deserved, opening night standing ovation and multiple curtain calls. Their reaction to the audience response was emotive and palpable.
And then magic happened. MD Victoria Falconer called Hedwig co-creator, composer and lyricist Stephen Trask to the stage. Trask flew to Sydney specifically for the Sydney opening. He was handed a guitar and lead the cast in an encore of Origin of Love.
Hedwig is an unapologetic, bold and unique theatrical experience that challenges an audience’s perception of the musical theatre genre. And this production is simply sensational – a once-in-a-lifetime, moment in time, out of the box fever dream with spectacular production and exceptional performances.
DO NOT MISS THIS VERY LIMITED RUN!!!!
Hedwig and the Angry Inch
Story by John Cameron Mitchell / Music and Lyrics by Stephen Trask
Directed by Shane Anthony and Dino Dimitriades for GWB Entertainment & Andrew Henry Presents
Playing at Bay 17, Carriageworks, Eveleigh through 3 August
Photos: Eugene Hyland
In his past lives, Damien was a drag queen and musical theatre actor. He made his stage debut as a fat cow in a school production of Joseph in 1984. He holds a BA with a major in drama from the University of Newcastle. He is completely obsessed with musical theatre – especially Broadway divas.
Since relocating to Sydney at the beginning of 2024, he attends every musical he can get to and lives with his partner and grumpy 12-year-old poodle.
His claim to fame is that he once met Patti Lupone in New York and she was nice to him.