‘Hedwig & the Angry Inch’: A Glittery Gut-Punch Of A Rock Musical

Hedwig & the Angry Inch, with Seann Miley Moore at the helm, is a glittery gut-punch of a rock musical that grabs you from the first riff and almost never lets go. It’s part rock concert, part confessional, and purely electricity.

Over 30 years ago, John Cameron Mitchell and Stephen Trask created this gritty barroom musical. Since then, it’s grown into a Tony-winning revival and a cult screen classic. But in Carriageworks’ industrial space-turned-theatre, Hedwig feels raw again.

Amid today’s cultural turmoil and rising trans vitriol, Hedwig feels more vital than ever.

And now, ladies and gentle-thems, the chaotic drag cabaret-like rock opera finally lands in Sydney on its 2025 Australian Tour, directed by Dino Dimitriadis and Shane Anthony. Here for a limited run, trust–it’s a guaranteed good time.

Led by powerhouse Seann Miley Moore, backed by a dynamic supporting cast and the Angry Inch, a grungy rock band, the show is a raunchy must-watch rock ‘n roll catharsis.

The story follows Hedwig Robinson, a “famously unknown” genderqueer US immigrant from East Germany. Born Hansel in communist Berlin, she endures abuse, a botched sex operation, and a loveless past, clinging to the escapism of American rock.

At its core, the show explores identity, trauma, love and the long road to self-acceptance, echoing many queer journeys. Watching Hedwig feels like witnessing her playfully (at first) wrestle with pain live on stage. Behind her looms Plato’s “Origin of Love” myth and the spectre of Tommy Gnosis, the show’s catalyst and Hedwig’s muse-turned-rockstar-ex.

She’s searching for her missing half. But as political and emotional walls come down, the truth emerges: maybe she doesn’t need to look further than herself.

But don’t mistake it for an emotional slog. Hedwig is hilarious–laugh out loud, raunchy, self deprecating, and fiercely updated (Who wants to “Make America Gay Again!”), all while serving pulsating musical energy.

Clad in a grunge denim, a Bram Stoker’s Dracula-esque blonde wig and electric blue eye shadow (thanks to designers Katie and Louis Nicol-Ford), Moore is a force from the get-go. Wickedly sharp, they play the audience like an instrument, evoking howling laughter and captivation with intimate silences.

Bleeding passion, Moore wholly embodies Hedwig, shifting effortlessly from lightning-fast innuendos to (literally) stripped down heart-aching revelations. An image of strength, Moore’s vocals soar with a rich vibrato that makes every ballad and rock anthem hit like a freight train. Their heady physicality–frantic yet tender–pulls you into Hedwig’s hot-messy world.

Adam Noviello as Yitzhak, Hedwig’s long-suffering husband and backup singer, though few in lines, leaves a powerful and lingering presence. When they finally open their mouth to harmonise, their tenor and vocals leave the audience thirsty for more. Noviello crafts a palpably longing character and nearly steals the night with “The Long Grift,” a deeply satisfying solo.

The Angry Inch, led by musical director Victoria Falconer on the keys, deserves thunderous applause. Glenn Moorhouse (guitar), Jarrad Payne (drums), and Felicity Freeman (bass) are tight, alive and the show’s beating heart.

Co-conspirators in the chaos, each member wields their instrument with skill and flair, delivering seamless accompaniment. A theremin appearance adds unexpected psychedelic magic, and a killer drum solo brings the house down.

From the headbanging opener “Tear Me Down” to the crowd-pleasing raucousness of “Sugar Daddy” and gorgeous fragility of “Wicked Little Town”, nearly every number hits just right, rattling bones and keeping you moving.

The 90-minute show keeps the audience thoroughly engaged and itching to participate, especially when Moore, Noviello or the band toss in naughty ad-libs. With little coaxing, the audience is no longer just watching, they’re vibrating and ready to get wild with Hedwig and the Angry Inch.

Jeremy Allen’s minimalist set design turns Carriageworks’ intimate stage into a gritty mini rock arena in the form of round compact platform. While the cast sits easily, Moore struts and writhes as Noviello scurries in tandem, all choreographed with precision by Amy Campbell.

A central band pit and a half-spiral staircase, built with a blinding door of light into Gnosis’ parallel concert, frame the action. Geoff Cobham’s lighting, swings from warm, dreamy glow to frenzied strobes, further immersing you in Hedwig’s grimy glam-rock world.

While opening night suffered minor bumps, including few technical issues at the start, a brief lull before act three, and slightly distracting stage noises, Moore’s presence nearly obliterates them.

Funny, raw and deeply queer, this is theatre that holds you by the collar and demands you feel everything.

By the end, Hedwig & the Angry Inch leaves you invigorated, a little wild, undone and breathless, possibly through misty eyes.

Hedwig & the Angry Inch is playing until Sunday, August 3rd at Carriageworks.