Above: Adam Noviello in the role of Yitzhak. Image: Shane Reid.
The diverse origin of any cult rock musical – as with Plato’s progressive origins of love – must be treated with respect and capable kid-to-complex-adult gloves. What once worked and shocked and celebrated diversity at the start of this fast-forward century will still work with a passionate delivery.
So it is with the current revival of Hedwig and the Angry Inch, in the Sydney stage of its 2025 Australian Tour. Star vocalists and a great band recreate the gig-style storytelling of John Cameron Mitchell and Stephen Trask from its gritty fin de siecle starting point. Quality stage lighting designed by Geoff Cobham of the circular, low-tower stage and denim-plus textures for outfits and amazing wig-inspired outfits from designers Nicol-Ford rock this small, engaging world.
Hedwig-refugee from a divided country-has morphed from Hansel to Hedwig, using their mother’s altered passport to escape to the envied US as a trans bride. Love and the loss of it scars Hedwig further but a talent for exploring emotion through music remains. We are hooked instantly as newcomers or cult followers of the stage or film versions by the pace of this radio-worthy version in Carriageworks’ Bay 17.
Seann Miley Moore performs with staggering stage presence, signature energy and a layered, nuanced performance crowned with a glorious voice and wig. SMM’s powerhouse vocals take this cult survivor by the hand and our hesitant modern predicaments by the throat and other body parts as it promotes creativity and inspires bravery.
Above: Seann Miley Moore as Hedwig with band ‘The Angry Inch’. Image: Shane Reid.
This tale’s reworked, gutsy main character is explored with history defying depth beyond the tone of each song by this star. This emotional human presence is the same we loved on TVs X Factor UK, The Voice and more recently also impressively immersed in the character of a newly queer Engineer in Opera Australia’s Miss Saigon.
SMM’s Hedwig is another performance brimming with a total, selfless transformation into character-even for this wicked but pared down, faithful to the very original town tales of this expat’s relationships in the current staging.
Hedwig here in Sydney right now is a decent romp through the indecent world of global conflict, escape, tricky gigs, being exploited in love and being so much braver than our war-worn bodies and minds.
It is easy to ‘love the front’ of this show. Supporting the star in the lead role is a fab band bedecked in period denim and led by local musical director legend Victoria Falconer. The suitable retro sound helps the main protagonists settle into the success of the film soundtrack’s familiarity and stylistically varied numbers. Rock outbursts, ballds and glam rock tracks such as Angry Inch, Midnight Radio , Wig in a Box and Wicked Little Town, known from stage, film and covers for a 2003 charity albums by the likes of Cyndi Lauper, Ben Lee and Yoko Ono were securely offered up here for our consumption.
This version’s cult-classic story races from 80s East Berlin through gender reassignment, trans-American gigs and transient, unsuitable lovers with audience participation, bling, current humour and heaps of heart. The original rock musical or gig with the Hedwig character existed alongside hits from contemporary rockstars.
Above: Seann Miley Moore sans wigas Hedwig. Image: Shane Reid.
The slick storytelling with tight band and cast member Yitzhak (in the hands of Adam Noviello, a consistently strong and supercharged vocal presence) offers fans and those new to Hedwig’s story a solid and contrasted songlist. The character’s escapes from love and war and descriptive songs tightly linked to the action build a show true to it’s intimate, edgy gig origins. We hear a gig without interval that still offers communication, and a range of musical moments for us in our current mileu.
Sean Miley Moore and Adam Noviello’s banter and secure vocal gestures reach the audience with accessible immediacy, right from the outset. All audience participation was total. Their hands were happily put up during ‘Midnight Radio’ transitioned into grateful brave applause in the standing ovation at the end.
This Hedwig and the Angry Inch maintains the bravery and quirkiness of the original and the loved songs of creators John Cameron Mitchell and Stephen Trask easily, deservedly make their way into our heads, hearts and competitive 2025 cassette-less earworm space post-show.
This version, tighlty harnessed and centered in the space by local co-directors Shane Anthony and Dino Dimitriades resonates and touches us directly despite the lack of cassette tapes, VHS machines and antennaed radios and simpler, smaller scale, strung-together rock musicals in our lives. This cast and host of classic rock feelings will do that though. Go sample this enduring hit and survival story. Take your old or new other half. The trip back in time with enhanced retro radio vibes and strong performers will change your modern midnight.
