Hedwig and the Angry Inch at the Athenaeum Theatre: Review
- Tayla Ham (she/her)
- Jun 22
- 4 min read
If you want a masterclass on stage presence, look no further than Seann Miley Moore, who captivates the entire house almost solo as the genderqueer icon Hedwig.
The Athenaeum Theatre is set to pump out rock before the show starts for Hedwig and the Angry Inch. The ominous silver curtain draped around the centre of the stage builds anticipation for the production. However, at 7.10 pm, when Yitzhak (Adam Noviello) crawls out from beneath the curtain, and it rises to reveal the four-piece rock band playing America the Beautiful and followed by the opening notes of Tear Me Down performed by Hedwig (Seann Miley Moore).
I realise I was here more for a rock concert than a musical.
Hedwig and the Angry Inch is perfectly suited to be performed right now during Pride Month, being one of the classic queer musicals.
The story explores the complex history of a genderqueer lead singer in a rock band that is gradually falling apart. While it encompasses much more than this premise, Hedwig is filled with anger as she feels that her life has been stolen from her in multiple ways—her body, her love, and even her words, which have been co-opted by the unseen Tommy Gnosis. Expertly portrayed by Moore, they deliver lines filled with dark humour, leaving the audience questioning whether they are listening to humour or reality.
Noviello, who remains mostly silent throughout the musical—aside from providing backup vocals—delivers an impressive performance. Their movements convey a sense of apathy, accompanied by a lack of expression for much of the show. Therefore, when they do express genuine joy, it carries significant weight. Moreover, the rendition of Wicked Little Town that they perform with Moore is beautifully done.
The concert format of Hedwig and the Angry Inch is arguably the first musical to present itself as a concert more than a traditional musical. With a runtime of 90 minutes and no intermission, it introduced a style that many theatregoers are now familiar with, particularly due to productions like "Six," which follows a similar format.
Hedwig and the Angry Inch is usually classified as a rock musical, however when comparing it to other rock musicals such Jesus Christ Superstar, Lizzie or American Idiot, Hedwig has a unique tone of the androgynous 1970s glam rock style reminiscent of the queer icon David Bowie. Hedwig herself also references many other icons of music throughout the show,
This iconic concert style allows Moore to break the fourth wall and freely play with the audience throughout the show. I adore when there is audience interaction in shows, and this was no exception. Like a regular concert, Moore would regularly call to the audience with a "let me hear you" type rhetoric, ask the audience to sing or clap along, and even raise their hands!
Moore effortlessly interacted with the audience; in fact, they seemed to adore it. Even getting up close and personal with one member of the audience, asking if they “wanted to make America gay again!” then providing them with that iconic red hat.
The highlights of the audience interactions revolved around the songs Sugar Daddy and Wig in a Box. In Wig in a Box, the audience learned a dance and sang backing for Hedwig, because Yitzhak asked, with no joy in their eyes or body language.
The audience interaction was a joyous, boisterous diversion from the distressing story that Hedwig was telling the audience between songs and with the music's lyrics.
While this show has strengths, it appears to lack a time period for when this concert is taking place. I know, as theatregoers, we are somewhat expected to suspend our disbelief. However, for Hedwig’s story, I feel it is essential that she was born in East Berlin before the fall of the Berlin Wall in 1989. Yet, Hedwig constantly references very modern things, such as JK Rowling— as a wicked witch—and the current state of American politics, which would place the concert in the modern day, not 10-20 years after the fall of the Berlin Wall, like when the show was originally staged. I am not entirely familiar with the original work, so this may be attributed to the script.
Some people may not have a problem with breaking the story with modern references and it was an attempt to draw political parallels. However, I found that the inserts ruined the continuity of Hedwig’s heart-breaking story for what was, sometimes, a cheap joke.
Hedwig's story is an important narrative about the struggle to be oneself in a world that often does not allow it. Fortunately, there are talented creatives today, such as Moore and Noviello, and the entire creative team behind Hedwig and The Angry Inch, who can effectively bring stories like this to life. Their work encourages us to reflect on queer history, ensuring that these stories remain part of our understanding of the past and not the future.
Access Notes:
The song "Angry Inch" features a significant amount of strobe lighting. I personally had to look away during the performance, and I usually do not have issues with strobe lights. If you are sensitive to strobe lighting, please be aware of this!
Hedwig and the Angry Inch plays at the Athenaeum Theatre until June 29th. Grab tickets here
