BmoreArt

In the 30 plus years since the writer, James Cameron Mitchell, and the lyricist, Stephen Trask, first created this seminal rock drama, Hedwig, her ‘soulmate, Tommy’, and her current husband, Yitzhak (another terrific story line that’s a little too convoluted to explain) have been entertaining and educating theatre goers. And through productions that span the globe, the characters’ gender fluidity is kept front and center.

Actors who have played Hedwig on Broadway include Neil Patrick Harris, Darren Criss, and Taye Diggs. But there have been female Hedwigs, drag queen Hedwigs, and the Yitzhak character has been played by both male presenting and female presenting actors, as well as everyone in between. The story is not based on any one character or instance, but the writers acknowledge that the story is based on personal experiences, drag friends, and importantly, the role played by the Berlin Wall and its subsequent demise.

The transformation of the M&T Bank Exchange (formerly the historic Eutaw Savings Bank and now a flexible community space within the France-Merrick Performing Arts Center) was absolutely gorgeous and perfectly suited to this kind of production. A series of lucite tables and chairs faced a more than generous stage, creating a cabaret vibe that fit the space and the story well. The rest of the room included comfortable bleacher seating, two wrap-around balconies that made great use of the height of the ceilings, and the obligatory bar. The transformation cost around $18 million bucks, so I hope it’s paying for itself with ticket and rental revenues.

Note: go see theatre at M&T Bank Exchange whenever you can!

Sean Elias, as director, has outdone himself with this offering. While it is essentially the star that drives the action, signs of a good director are evident everywhere, from the placement of the band on stage, to the subtle and not so subtle (especially in the final songs), staging. Elias’ has a terrific eye for detail and pacing.

Bruce Kapplin’s wonderfully understated set is comprised of exactly what you would expect to see at a performance set in a nightclub populated with the detritus of a drag queen’s mind. I suspect that Elias had a lot of fun dressing the stage with costume pieces and of course, the wigs that the actors use throughout the production.

Thomas P. Gardner’s lights and Zach Sexton’s sound design must have been quite a challenge in this space, and they both did a solid job of it with the elaborate demands of a rock concert venue. A handheld video camera was used in some scenes, others were cleverly staged to match what I think was pre-recorded footage—I’m not sure and I don’t want to guess. In any case, Chris Carcione’s video design was impressive as hell and reminded me of the old TV commercial, ‘Was it live, or was it Memorex?’

The costumes and wigs were just as much a part of the show as the actors. So hats, eyelashes, and wigs off to the talented Tiffany Zellner!

It’s a shame that Nicholas Miles and Cera Baker were not given more to do. They both had plenty of stage presence and vocal abilities that rose to every background woo-woo as well as any corner doo-wop group. They may not have been front of band much but they were noticed and deserve the accolades—so huzzahs to both!

The stand-out surprise of the night was Canter Irene O’May. I’ve been aware of this actor for a good many years and have seen them tackle some meaty roles, but nothing like this. They are vested with a degree of talent that is the equal of any on a stage here in Baltimore or anywhere else. The voice, the character changes, the pouty, petulant attitude that gives way to a wailing rocker with unlimited vocal range was a helluva ride. This actor is going places and I can’t wait to see the next phase of their journey.

But like so many other starring roles, it’s the lead that makes the night. Leo Grinberg not only rose to the occasion, he blew the lid off that vaulted venue. Law’d, that boy can sing! This is about as campy a role as I’ve ever seen and it was Grinberg’s sheer stage professionalism that kept it from becoming a drag cartoon. He sashayed through the audience with witty adlibs, acting chops, and pure star power in what was essentially a 90 minute tour de force of artistry. My only regret is that this production was only here for a scant 72 hours.

While there is nothing new about a guy in a dress, a drag queen, a transwoman, or any of the other variations, Hedwig and the Angry Inch presents so much more—from Hedwig’s dismal beginnings of life behind the Berlin wall to the heartbreak of eking out a living playing dives and back rooms.

According to writer John Cameron Mitchell, Hedwig is “more than a woman or a man. She’s a gender of one and that is accidentally so beautiful.” Accident or no, for those of us lucky enough to have witnessed her at Iron Crow’s production, the label mattered less than the story it told.

Hedwig and the Angry Inch was performed on March 14th -16th, 2025 and presented by Iron Crow Theatre at the M&T Bank Exchange in Baltimore.