Review Roundup: HEDWIG AND THE ANGRY INCH at Milwaukee Rep - What Did the Critics Think?

Milwaukee Repertory Theater's Hedwig and the Angry Inch will run January 28 - March 8, 2020 in the Stiemke Studio. Matt Rodin performs the title character Hedwig with Rep favorite Bethany Thomas (Songs for Nobodies, Milwaukee Rep) as Yitzhak.

Hedwig and the Angry Inch with text by John Cameron Mitchell and music and lyrics by Stephen Trask is a trailblazing rock-musical and winner of four Tony Awards including Best Musical Revival.

Hedwig and the Angry Inch is directed by Milwaukee Rep Artistic Director Mark Clements (West Side Story, Milwaukee Rep), with music direction by Associate Artist Dan Kazemi (West Side Story, Milwaukee Rep), scenic Design by Scott Davis (Things I Know To Be True, Milwaukee Rep), costume design by Mieka van der Ploeg (Miss Bennet: Christmas at Pemberley, Milwaukee Rep), lighting design by Jason Fassl (Guys and Dolls, Milwaukee Rep), sound design by Barry G. Funderburg (A Christmas Carol, Milwaukee Rep), projection design by Mike Tutai (Holmes & Watson, Milwaukee Rep), casting by Frank Honts, New York casting by Michael Cassara and stage managed by David Hartig.

Let's see what the critics are saying...

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Kelsey Lawler, BroadwayWorld: The character of Hedwig is certainly fleshed out, and Rodin bravely nestles into every corner of her being. His is an honest, heartfelt, and dryly humorous Hedwig. In terms of vocals and rock 'n' roll, there's no ifs, ands, or buts -- Rodin is as killer as they come, and he does it all in glorious wigs, sky-high platforms, and ten pounds of glitter. Shout out to the exceptional Mieka Van Der Ploeg, Costume Designer.

Jean-Gabriel Fernandez, Shepherd Express: Hedwig is an all-encompassing role: As the show's namesake character, Matt Rodin must dance, sing, perform stand-up comedy, improv and emotion-heavy acting, all while remaining in character as an over-the-top, queen-like stage persona. Hedwig enters the room clad in brightly colored clothes, including a cape and massive wig. But, as Hedwig unveils her personality and sensitivity, she literally sheds her clothes, ending the show almost entirely naked. The last deeply emotional note that Hedwig and the Angry Inch leaves you energized and awash with excitement-avoid spoilers, but you should keep an eye on Bethany Thomas, as she shares more of the spotlight than seems obvious at first.

Dominique Paul Noth, Urban Milwaukee: Usually a reviewer is meant to clarify relationships within a play, but there is a deliberate plot mystery in why Thomas, slouchy and grim, often singing extremely powerful backup to Hedwig, has reasons for the series of harsh stares at Hedwig while Rodin himself mixes a stunning falsetto and genuine baritone in manners that constantly clobber the audience into attention. Thomas, as Rep patrons well know, has an astonishing voice of her own that sneaks up and around us. There is a side play of hurt love whose details are best left for audiences to discover. Sometimes these interactions are better than the plot elements in holding the characters together, since they live on a show biz plain more than in real life.

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