Bold, raw, and energy-packed — this is an important piece of theatre to see
Presented by: GWB Entertainment, Andrew Henry Presents and Adelaide Festival
Reviewed: 26 February, 2025
As one of the headline shows for the Adelaide Festival, Hedwig and the Angry Inch is a bold, raw, and powerful choice. This production is simply brilliant. I have heard of Hedwig, I knew some of the songs and I had a vague idea of the plot, but other than that, I went in not knowing what to expect. By the end of the one-act show, I became a huge fan of this piece of work. The message is important, especially in today’s political climate, and it’s been staged by a caring production team with an exceptional cast and band. In short, see this show.
Hedwig and the Angry Inch follows genderqueer East German singer, Hedwig Robinson, during a performance. Hedwig tells her story, weaving in and out of monologues and songs. There is no fourth wall; we, the audience, are the audience at Hedwig’s performance and we are swept away into the torment of Hedwig’s life. This is a powerful piece of theatre. The story of Hedwig draws on the early life of script writer John Cameron Mitchell.
Shane Anthony and Dino Dimitriadis’s direction, combined with Amy Campbell’s choreography, is stunning. They have pulled every moment imaginable from John Cameron Mitchell’s text and Stephen Trask’s music and lyrics. From the simplest side glance to the audiences, to slight pauses in the dialogue deliver to drive a point or punch line across, it has all been carefully mapped. The Queens Theatre has provided them the perfect setting and playground to stage Hedwig and the Angry Inch. Like the production, the venue has a stripped back feel – you could swear the venue was custom made to fit the artistic vision of this show (even though we know it’s the oldest theatre in South Australia).
At the helm, Seann Miley Moore is perfectly cast. Seann has taken the role of Hedwig and poured so much life and personality into the character. Their smile is infectious, and they are warm and engaging from the moment they first appear. And what a voice! From their soaring rock belt, through to their tender side in ballads, Seann has the magical ability to transport an audience to another place through their performance. You want to celebrate with them in big numbers like Sugar Daddy, but your heart breaks in emotionally driven numbers like Hedwig’s Lament. Seann is a master of their craft.
In the role of Yitzhak, Adam Noviello is simply stunning. They are the perfect casting choice to work against Seann. The two bounce off each other brilliantly. Adam’s acting never overpowers Seann’s until the moving and powerful moment during the finale Midnight Radio. For someone so tall, their acting choices make them appear so small in their physique against Hedwig’s huge personality. They have brilliant vocal technique and one impressive vocal range.
No musical is complete without a live band, and in the case of Hedwig and the Angry Inch, they are as integral as the cast. The ‘Angry Inch’ band, positioned in the centre of the set, interact with Seann and Adam, have their own choreography and provide the best musical accompaniment you will hear for a long time. Felicity Freeman (bass), Jarrad Payne (drums and acoustic guitar), Glenn Moorhouse (guitars and associate musical director) and Victoria Falconer (keyboards, musical saw, theremin, accordion and musical director) were exceptional. Their musicianship lifted the already powerful and moving score. Not only did these fine musicians play live, they also provided backing vocals with exquisite harmonies. Victoria Falconer’s work with the cast and the band is simply brilliant. No detail in the vocal or musical delivery has been untouched; everything has been carefully thought through.
No expense has been spared on the production values either. I’ve seen shows in the Queens Theatre before and have been left less than impressed with the audio in the venue. A giant, old warehouse is not an easy place to mix a live show. However, audio wizard Jamie Mensforth’s sound design is perfection. It is balanced just right so the vocal clarity is never lost, but you can still feel the music. Geoff Cobham’s lighting design perfectly combines rock stadium lighting and softer, tender lighting. The use of mirror shards to displace the lighting provided a brilliant and unique effect. Kate-Louise Nicol-Ford and Lilian Nicol-Ford’s costume designs were stunning. Such a genius use of denim across the entire cast, including the band. Jeremy Allen’s set design is simple, yet effective. The band is positioned in the centre of a circular grilled mesh catwalk, allowing the actors to move around and among them, At the back, a curved staircase creates levels. The set is topped off by a towering silver velvet curtain that is used to fully enclose the band at times and allows some magical reveals to happen.
Make sure you get to the venue with a good thirty minutes up your sleeve. As you arrive, you are welcomed into what has been decked out as an American trailer park. It is worth the time to explore all the little areas around the space. You are also invited in small groups to enter the foyer to enjoy a floor show – no giveaways here, you need to have the full experience!
It is not every day a piece of theatre like Hedwig and the Angry Inch is performed. This is a brilliant production of such an important piece of theatre that celebrates diversity, inclusivity and being yourself. Go in with an open mind and let Hedwig transport you to their world.
Reviewed by Ben Stefanoff
Photo credit: Shane Reid
Venue: The Queens Theatre, Corner of Playhouse Lane & Gilles Arcade
Season: Until Saturday 15 March, 2025
Duration: 1hr 35mins, no interval
Tickets: $69 – $129 (plus booking fees)
Bookings: https://www.adelaidefestival.com.au/events/hedwig-and-the-angry-inch/
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