It’s difficult to review something I know so intimately as Hedwig and the Angry Inch.  Besides having been a part of this production myself at Emerson College in 2005, I have seen many regional productions of the piece, from the dance floor at Axis to a small lecture hall at Tufts.  It’s not hard to see why I go out of my way to seek out productions of Hedwig and the Angry Inch.  It’s an exciting show- a small and intimate cast (some smaller than others), a unique, outspoken lead with free reign to improvise dialog and interact with the audience, emotional, loud music- it’s like everything you love about a rock music performance with the added bonus of a heartbreaking- and heartbreakingly funny plot to go with it.  I love Blue Spruce Theatre’s initiative to “come out” for LGBT rights – they have dedicated this season’s productions to GLAD (Gay and Lesbian Advocates and Defenders) and that is something that I can really get behind.  It was a pleasure to get to share in Hedwig’s journey last night.

The Blue Spruce Theatre kept the cast very small, the smallest I have seen in a local production, casting only two “players” in their Hedwig and The Angry Inch.  Hedwig, played with inspiration by Danny Bryck, and Yitzhak, played with beautiful, painful tenderness by A. Tully.   Tully and Bryck play all the manifestations of other characters throughout the life story of Hedwig, from Hedwig’s stern East-German mother, to his ex-husband, Luther, an American GI, to Tommy Gnosis, catalyst and ex-lover.  Often these characters manifest themselves in other ways (from puppets to actual humans in the roles- especially Gnosis) but director Kevin Mark Kline purposely focuses our attention on Hedwig, giving Bryck a wide range of characters to play and develop, which he did, with style.  While I might have initially missed seeing the actual chemistry between Hedwig and Tommy Gnosis on stage, I did enjoy the opportunity Kline gave me to really explore the whole story through Hedwig’s eyes.  In fact, upon further reflection, I think it is a much stronger way to present Hedwig to the audience because it forces us to see him in all of his various gender manifestations.  Bryck was excellent as Hedwig.  Unless you see this show for yourself, there is no accurate way to describe the amount of stamina required of the person in the title roll.  More than just singing a vocally challenging rock concert and entertaining the audience with witty banter, our Hedwig has to make a difficult emotional journey (and do all of it in five-inch-heeled-knee-high combat boots in a German accent).  There was not a breath out of character in Bryck’s portrayal.  His voice was fantastic and he carried himself well, I would have enjoyed him even more if he took the time to interact more with specific audience members in addition to addressing us all in a more general way.  A. Tully was also a treat to watch as Yitzhak.  My heart was breaking for her because it was abundantly clear that she had quite a serious case of laryngitis.  While I did miss the haunting high notes that Yitzhak typically produces (and I know you have them, Tully, you were stupendous on WERS) I thought that Tully did a wonderful job of playing up her lower range.  Her rendition of “The Long Grift” was every bit as good as it would have been full-voiced.  I did miss seeing Yitzhak coming out “transformed” at the end of “Midnight Radio,” that is always one of my favorite moments in the show, and I felt like the audience misses out on a real “wow” moment when it is omitted.  The Angry Inch was played by the Hot Protestants.  I absolutely love seeing an established band take on the character of the Angry Inch rather than assembling individual artists for each instrument.  The Hot Protestants had everything I was looking for when it comes to Hedwig’s band- they looked great, their playing was impeccable and fearless, and they had a good sense of humor.  I would absolutely see them live and not in costume!

The black box theatre at the Arsenal Center for the Performing Arts made a great transition to rock concert hall with fun set and fantastic lighting by the incomparable P.J. Strachman (I’ve worked with her and seen her light countless times and she is a true professional through and through). Shannon Gmyrek’s costumes and Eleni Thompson’s hair and makeup design really brought us into the story as well.  All together it made Blue Spruce Theatre’s production a really professional feeling hit.  The audience was completely engaged- I loved seeing everyone with their hands in the air, singing along, laughing and completely animated.  The production team helped the audience to really feel like part of the show.

I don’t want to try to rank this show against others of it’s kind that I have seen- each add their own special link in a chain of experience that I think most people should have the opportunity to see.  Hedwig and the Angry Inch is a bold, important piece that takes a brave and dedicated company to produce.  Blue Spruce Theatre has done a great job of carrying this touching and important message to the audience, and I had a wonderful time.

Hedwig and the Angry Inch perform live from “Rathskeller”. (photo by Shannon Gmyrek)