Book: John Cameron Mitchell
Music, Lyrics & Orchestration: Stephen Trask
Director: Michael Mayer
Musical Staging: Spencer Liff
Scenic Design: Julian Crouch
Costume Design: Arianne Phillips
Lighting Design: Kevin Adams
Projection Design: Ben Pearcy for 59 Productions
Belasco Theater, Broadway, April 2014 - September 2015
Neil Patrick Harris makes his long-awaited return to Broadway in HEDWIG AND THE ANGRY INCH, John Cameron Mitchell and Stephen Trask's landmark American musical, directed by Tony Award® winner Michael Mayer (Spring Awakening). Heartbreaking and wickedly funny, this raucously entertaining show has inspired a generation.
59 Productions' Ben Pearcy joins forces with regular 59 collaborator, Julian Crouch, to provide projection design for the show which is currently playing to packed houses at the Belasco Theater on Broadway.
*TONY AWARD NOMINATIONS* - Hedwig and the Angry Inch nominated for 8 Tony Awards
Read more about the nominees here
Click here to book tickets.
If deliberately provocative and libidinous, Hedwig packs a stronger emotional wallop than most Broadway musicals. Despite the blaring sound mix, a few songs, such as The Origin of Love, based on a speech of Aristophanes, Midnight Radio and Wicked Little Town, give you chills, aided by the harmonies of Lena Hall as Hedwig's husband, Yitzhak. What aural pleasure.
The costumes by Arianne Phillips are fun and -- after the opening nod to David Bowie -- tawdry enough to be believable, even as they sort of dazzle, in a low-rent way. The wigs and make-up of Mike Potter are similarly tatty and fun, with excellent lighting from Kevin Adams, a challenging and convincing sound design by Tom O'Heir and terrific projection designs by Benjamin Pearcy for 59 Productions which are a stand-out (and not just on "The Origin Of Love," which one expected to shine). The stage band is crack with Hall nicely subservient as Yitzhak, though her strong voice never takes second place.
How do you justify the advent of a tarnished never-was on the Great White Way? Well, you start with a sassily tweaked script, which has the title character taking over the Belasco for one night — following some, er, gentle persuasion of a Shubert Organization producer — after the premature demise of its previous tenant, “Hurt Locker: The Musical.” This allows the witty designer Julian Crouch to come up with a ludicrously extravagant set, which depicts a besieged cityscape frozen in midexplosion. And how about some naughty eye candy in the form of cartoon projections by Benjamin Pearcy for 59 Productions?
Other updates include some great, trippy projections by Benjamin Pearcy and a set by Julian Crouch that features a rusting car, front and centre onstage.