Give 5 Productions kicks out the jams for a dynamic performance of the rock musical

As soon as the house lights dim and Hedwig Robinson (Clark Destin Jones) takes center stage — draped in an American flag and sporting a sculpted blond wig — we are keenly aware that executive producer Julia Tobey and award-winning director Kelly Van Oosbree are about to deliver theatrical magic. It is a perfect storm.

Originally opening in New York in 1998, written and performed by John Cameron Mitchell, this revival is of the highest caliber and is produced by Tobey’s Give 5 Productions. Playing in Denver’s vibrant RiNo neighborhood at newly renovated theatre The Arch, it’s a transformative journey defying genre and gender.

This production is a tour de force for Jones in the title role. While commanding the stage nearly one hundred percent of the time, Hedwig is a fiercely charismatic and complex character on a journey of self-discovery through heart-pounding rock music and vulnerable introspection. Jones not only lives up to this classic material but exceeds it. He is also brilliant at delivering asides to the audience, referencing many well-known Denver landmarks, such as Casa Bonita. It is a performance in real-time, and he never misses a beat, much to the audience’s delight.

The only other character on stage is Yitzhak, artfully played by Anne Terze-Schwarz at the performance I saw. Yitzhak is Hedwig’s assistant, backup singer and husband. A truly co-dependent and unhealthy relationship is evident, stemming from jealousy and outright disdain for each other. It takes a strong performer to align with Hedwig, and Terez-Schwarz holds their own.

Clark Destin Jones as Hedwig and Anne Terze-Schwarz as Yitzhak in ‘Hedwig & the Angry Inch’ | Photo: RDGPhotography

Hedwig’s history

Hedwig’s life starts as little Hansel Schmidt in East Berlin. After a botched reassignment surgery, Hansel becomes the colorful and enigmatic Hedwig (along with the angry inch), the front for a rock band touring the United States. Hedwig is on a journey of self-discovery, a longing for completeness, and searching for love. Little success follows, although Hedwig crosses paths with a former lover and musical collaborator, Tommy Gnosis, embodied by Jones, who has become a mega-star in his own right.

The pulsating heart of Hedwig and the Angry Inch is its electrifying music — a blend of punk rock and soulful ballads. Filled with innumerable high points, music director Fischer (keys) has captured the musical essence of Hedwig and leads a red-hot band onstage comprised of Sean Case (drums), David James (bass) and Jason Tyler Vaughn (guitar). They are the musical heart and soul of this production.

Van Oosbree has turned out a stellar production that satisfies on all fronts. She has unleashed a powerhouse in Jones as Hedwig, and their collaboration skyrockets through the makeshift theatre of The Arch with never-ending energy and inner strength. Also credited as the choreographer, there is little formalized dance; however, the movement is sublime.

The physical production is worth special note, starting with the prolific set designer Brian Mallgrave. He has transformed the space into a suitable playground for Hedwig, casting a distinctive mood for the onstage exploits. Costume designer Jessie Page dresses Hedwig in a country-flavored denim-like dress that shouts out Americana. And most important is Hedwig’s wig, designed by Debbie Spaur. Its length, color and sausage curls make its presence equivalent to another character on stage.

There is a pre-show before every performance hosted by local favorite Jessica L’Whor and featuring a litany of homegrown performers.  An hour-long drag-fest with rotating performers, a costume contest and a raffle, the pre-show is a funfest for the arriving audience setting the mood for what is about to take place.

This is an outstanding production striking universal themes, owing much of its success to Tobey for bringing it to life now in Denver and Van Oosbree waving her directorial magic wand once again. And without Clark Destin Jones, there would be no Hedwig and the Angry Inch.

Photo: RDGPhotography