When something becomes a cult classic, it’s inevitable that with such a designation also comes a loyal and dedicated fanbase. But when a piece of art is given this label because of how it speaks to a marginalised or othered community, it often holds an extra special place in the canon of pop culture.
Hedwig and the Angry Inch, which first hit cinema screens in 2001, is exactly this for many LGBTQ+ individuals. Adapted by John Cameron Mitchell, who originally created the off-Broadway musical in the late 90s alongside musician and composer Stephen Trask, the film follows genderqueer rock star Hedwig Robinson and her journey from East Germany to America, via a botched sex reassignment surgery, disastrous ex-lovers and Plato’s Symposium. With its challenging of heteronormative ideals and punk and glam rock-inspired soundtrack, it offers a poignant meditation on gender and sexuality.
“I’m sure everyone knows this show is a trailblazer in queer cinema and queer theatre,” says Seann Miley Moore, who is about to take on the title role in a new Australian production that will premiere at the Adelaide Festival. Like many others introduced to Hedwig and the Angry Inch for the first time, Moore’s initial encounter was revelatory, as they found themselves resonating deeply with the film’s rebellious spirit and emphasis on queer self-love.
“One of my beautiful drag queen diva friends Gingzilla said ‘Honey, you need to watch this film’.” Moore explains about their introduction to Hedwig. “And when I watched it, I was absolutely blown away. This show is just a full expression of music and queer culture and art and performance art and it’s such a beacon of queer liberation.”
Having gone on to win numerous Tony Awards when the production hit Broadway in 2014, Hedwig and the Angry Inch has had many iterations in the years since it first premiered, with the likes of Neil Patrick Harris, Darren Criss, Michael C. Hall and Taye Diggs known for donning Hedwig’s iconic blonde Farrah Fawcett wig. For Moore, playing Hedwig is more than just a role – it’s an honour, one that they do not take lightly, especially when following in the footsteps of heroes like John Cameron Mitchell and queer legend iOTA, who originated the role in Australia. Moore sees this performance as both a personal challenge and a celebration of community.
“As an actor, this is something I’ve never done before,” Moore says, “but I’m rising to the challenge. I feel like I’m being held hostage by Hedwig – she’s just pulling me in the back of her car and going full throttle. But I’m sure by the end of the tour I’ll be able to get into the passenger seat.”
Directed by Dino Dimitriadis and Shane Anthony, this new production aims to highlight the raw, underground roots of Hedwig. Unlike the glitzy Broadway production starring Neil Patrick Harris, this adaptation embraces its punk origins, capturing the gritty, riotous energy that first propelled Hedwig into cult status. Audiences can expect a grunge-infused spectacle, one that is as unpredictable as it is electrifying.
“We’re really taking it back to the roots of where Hedwig began,” Moore explains. “It was birthed in Squeezebox, which is a New York underground club, where there was an explosion of drag culture, music and political punk. This was post-AIDS, where the government abandoned our community, but in this space, we were able to reclaim our power through music and punk rock and performance art. So we’re really bringing you back to the roots, which was a wild but revolutionary time for our community.”
No stranger to the stage, Moore’s own career has spanned global platforms such as X Factor and Eurovision. Most recently, they took on the groundbreaking role of The Engineer (or “EnginQueer” as they call it) in Miss Saigon, for which they won a Green Room Award for Best Actor.
But Moore admits that playing Hedwig has offered something different. With a career built on their own larger-than-life personality, embodying the cultural behemoth that is Hedwig has required a different approach.
“For the past ten years, I’ve been showcasing everything that is Seann Miley Moore. But this time, I’ve had to focus solely on the text. I still bring elements of myself, but it’s really about focusing on the character and the journey she has trying to find love and her missing half. I’m slowly but surely championing that and understanding the craziness that is Hedwig.”
Moore’s journey to this moment has been fuelled by an unwavering commitment to authenticity. Inspired by divas like Mariah Carey and Liza Minnelli, as well as their fierce Filipino titas, Moore has always embraced self-expression as an act of defiance, and it’s clear they connect with the show’s story of resilience.
“Throughout this whole process,” Moore notes, “what I’ve come to learn is the heart of Hedwig, through their trials and tribulations, and rock and roll escapades. What a journey she’s gone through, but the resilience and strength and fight – it’s all in her heart. When she sees that she doesn’t need validation and love from everyone else, that’s what shines through.
“And as they say at the beginning of the film, ‘whether you like it or not, Hedwig!’ So all the good, all the bad – this is me. This is my story. That’s something that I relate to. I always give my full heart on that stage. And that’s the thing, you know, all wigs fit all heads honey.”
Moore’s full-hearted approach to performance is exactly what makes this production so compelling. Whether audiences are longtime fans of Hedwig or new to the show, Moore’s raw energy, undeniable talent, and deep connection to the role is bound to leave Adelaide audiences with something to remember – both unconventional and unashamedly queer.
“Adelaide is the perfect place for this show,” Moore reflects, when asked about the upcoming premiere. “During festival season, it’s all misfits and losers and rock and rollers – the exact people Hedwig sings about. It’s going to be wild, rock and roll mayhem.”
Hedwig and the Angry Inch, The Queens Theatre, until 15 March