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Fan Reviews, Media Reviews, and comments from members of the Media, about Darren in Hedwig and the Angry Inch--SF and L.A. Tour

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Poppy

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# Repost alex_neshan 

LIFT UP YOUR HAAAAAAEEAAAAAEEAAANNDDS Effing Hedwig and the Angry Inch. Shit man….in every which way shape and form, so amazing. #hedwigandtheangryinch #hedwig #lenahall #darrencriss #liftupyourhands #hollywood #pantages http://ift.tt/2ff6x6P
via DarrenCrissArmy

Poppy

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From DarrenCrissArmy:

RomyRaves wrote:
Darren Criss SLAYS as Hedwig and the Angry Inch at Hollywood Pantages

November 7, 2016

I recently attended Opening Night of Hedwig and the Angry Inch at the Hollywood Pantages Theatre and it was nothing short of spectacular! The Los Angeles limited engagement of Hedwig (now thru November 27th) is starring Darren Criss that many of you may know from Glee. I’m delighted to tell you that Blaine Anderson was nowhere to be found in Criss’s transformative performance of Hedwig, a charismatic and emotionally scarred transgender rock star who has arrived for this one-night-only special performance to set the record straight about her life, her loves, and the botched operation that left her with an “angry inch.”

I was absolutely mesmerized by Criss’s performance of Hedwig; he completely morphed into to this flamboyant, funny, passionate angst ridden rocker, who you laugh at and cry with. I marveled at the stamina it took to portray this role with all the necessary physicality it takes to dance, sing, walk, jump and gyrate in platform heels. He was absolutely incredible and those abs, don’t even get me started . . .

[. . . ]

All I can say is Angelenos RUN! to see Darren Criss during his limited engagement at the Pantages before it’s too late!! You are in for an absolutely amazing night of theater. You will see Broadway caliber performances and be transported into an incredible glam rock world ala David Bowie with top notch talent, incredible staging, fun and provocative musical numbers, singing dancing, licking and some of the best musical theater to grace an LA stage in long time.
via DarrenCrissArmy

Poppy

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Some tweets:


Note:   Lisa Schwartz is an actor and youtube personality.





Note:  Dan Carrillo Levy is a film director and producer, and founded Moxie 88, Boutique Film Studio.








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From DarrenCrissArmy:



This fan's message had a special resonance with me, given the election results of my country.

# Repost _dinorah_


In the midst of all the uncertainty at least I got to meet one of my favorite humans today. Not only is he so talented but most importantly an amazing caring human being. We need more people like you in this world #darrencriss!  https://www.instagram.com/p/BMovICghVnl/
via DarrenCrissArmy







# Repost makenakane

After a day of hatred and bigotry, I am very glad that I can go see art that is so well crafted fighting (and ad libbing) for what they believe in. Thank you #darrencriss https://www.instagram.com/p/BMnpou2hTc0/
via DarrenCrissArmy








#Repost samthefilmman

Honestly #darrencriss is an awesome performer and a very nice guy. Thanks for hug man. Seriously last meant more than words can say! #hedwigandtheangryinch #theatre #musical #loveeachother https://www.instagram.com/p/BMoxWsgBouJ/
via DarrenCrissArmy



Last edited by Poppy on Mon Jan 16, 2017 4:14 pm; edited 1 time in total

Poppy

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Nice gif set capturing what Lena Hall said about Darren during the livestream (Facebook):

 

 

janel-moloney:

Lena: You have this really cool voice, don’t be afraid of it.
Darren: Thanks! Everybody else, be very afraid.

November 10 2016   (Source)
via dailydarrennews

(From this video:  Facebook Livestream)








Fan review:

i-and-my-annabel-lee wrote:
My Hedwig
November 10, 2016

He did it again. It doesn’t matter how high my expectations are with Darren, he always manages to exceed them, somehow. I packed my bag and left my own wicked little town for a week and went to sunny LA to see Hedwig, again. I thought he couldn’t be better than in New York. Boy, I was wrong. Maybe it’s because I’m more used to listening to his voice in videos or crackling audio recordings than in real life, but every time I have the rare chance to bask in the richness and beauty of his voice, the reasons why I’ve ever loved this man become clear again in my head.
His voice is loud, bold, deep, rough and sweet at the same time. It’s soft and rich like velvet and it melts like pure honey. And the best part is that his voice is just what titillates your hearing. Everything is brought to completion by how he moves and the expressions his face is able to make. He moves and bends his body as he pleases and it’s strong and fragile, compact and feminine. He has muscles and, trust me, you can see each and every single one of them, and you can see his strenght in all his jumps and push-ups and all those crazy acrobatics he does all round the stage. But he curves his body, he bends his leg, he sits on a lonely stall or a damaged car and he’s suddenly a mean but fragile and beaten up woman who’s been through more shit than anyone could bear, or a little boy molested by his father, or a young kid who still doesn’t know what he wants from life and who’s too afraid to love. He spins his strong figure and he’s a graceful ballerina dancing to a rock ‘n’ roll song. His eyes are pools of deep emotion and he can say more with a raised eyebrow than I could ever say to you with a million words. You can’t take your eyes off of him, Hedwig, Tommy, Luther and all the other characters he has within his own body for the whole 90 minutes. You can see his eyes even from the back of the teather and, surrounded by muddy maybelline tears, smudges eyeshadow and fake lashes, they find you, somehow. Each and every one of you at the same time. The energy you can literally see radiating from him is captivating and with his moves and his voice he takes you by the hand and he leads you through so many characters and so many stories but you don’t get lost. He doesn’t let you. He tells Hedwig’s story so clearly and with so much honesty that you can’t escape it. The funny parts, the sad parts, the dark parts. Parts that you would never want to hear, things that you would never want to see happening to someone. You go through them all with him and you get to the end of the last note and you realize that you didn’t just learn about Hedwig’s story, or Hansel’s, or Tommy’s. No, you also learned a little bit about yourself. In these 90 minutes of silly jokes, sexual innuendos and silent tears, you actually found a little piece of knowledge that you can add to your own story. And this happens every time you see the show. From the moment he puts his golden heels on the car to the one his bare feet lead him out of the stage.

My parents saw the show for the very first time. I want to include this in my little recap for a reason. They have never seen Darren doing anything live, they’ve never seen Hedwig, live or on screen, and they don’t speak English. They loved it. They couldn’t understand how this cute, sweet, little guy they saw talking with fans at stage door could become this stage monster they saw in front of them. My father told me: “I knew he had talent, from a couple of videos I saw from you, but I could have never imagined how much of an explosion of talent and energy he actually is”. His techincal precision, his vocals and his moves hit them, even if they couldn’t understand one single joke. They didn’t understand the innuendoes, the jokes or the rough and poignant dialogues (or monologues I should say) and yes, one could say they missed a lot, but they felt it. They felt Hedwig’s pain and feelings and Darren made them go through the dark turns and noice of Hedwig’s story just thanks to his own passion and talent. Nothing else. And I do think this is all kinds of amazing and remarkable.

The show lack the intimacy of the New York’s show, inevitable since you have almost 3000 people instead of 1000 and the teather is clearly huge, but the energy and the roaring laughs, claps and cheering make up for it. I’ll never forget how proud I felt. Seeing Darren coming on stage taking is bow, the spotlights lighting up again on the audience and 3000 people standing up for him is one hell of a view. He has the power to make 3000 people loudly cheer for him and to have them silently, completely and unwillingly - because he doesn’t give you room for any choice - eating out from the palm of his hand. It doesn’t matter if it’s touching a wig, picking at those fishnets, holding a mic or sending a kiss.

-i-and-my-annabel-lee



Last edited by Poppy on Mon Jan 16, 2017 4:15 pm; edited 1 time in total

Poppy

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Looking at some tweets about the show, it struck me how seeing Hedwig and the Angry Inch has helped folks in terms of finding hope and some light, which is so important because of the uncertainty and anxiety felt by so many subsequent to the election.   This show is more inspirational than ever, given what has just happened in the U.S..   I'm glad Darren, through his performance and through his kind words at stage door, has helped lift the spirit of others. 

















More tweets:









Last edited by Poppy on Sat Nov 12, 2016 1:03 am; edited 2 times in total

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# Repost bookwhimsy 

Theatre night with #tvpam seeing Hedwig and the Angry Inch starring #DarrenCriss. Incredible performances and well timed political jokes! My favorite lines from a song in the show: “You think that luck has left you there/ But maybe there’s nothing up in the sky but air.” #theatre #hedwigtour http://ift.tt/2fr9EIM
via DarrenCrissArmy

Poppy

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Some more tweets (once again, showing the power of this show to uplift and give hope):












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Another review:

4YourExcitement wrote:
Darren Criss Puts The Wig Back On His Head For Hedwig And The Angry Inch

November 11, 2016.

By Clare Sidoti

Through fate or some divine intervention, some shows seem to arrive at just the right time. Times when audiences need to experience something meaningful, to escape or help them deal with or explain what is going on in the real world. With all the fear, confusion, uncertainty and hate in the world, Hedwig and the Angry Inch (directed by Michael Mayer and now showing at Los Angeles’ Pantages Theatre) has begun its US tour at such a crucial time for this story to be told. Providing its audience with a story about love, being true to yourself and following your dreams, you are able to have a cathartic and unifying experience all set to a kick ass rock soundtrack and extravaganza.

[. . . ]

What we see is a tragic journey of self destruction/discovery that strips away Hedwig’s façade, leaving audiences with plenty to ponder as they depart the theatre.

Criss is the heart and soul of the show; taking us to unbelievable heights with Hedwig’s passion, defiance, comedic way of dealing with her life and rapport with the audience, and then bringing us back down to earth with her reflection, pain, and ultimate sacrifice. While I loved his performance in the Broadway production, this Hedwig has more gravitas and less manic energy. There’s a greater sense of world-weariness to her that goes deeper this time around. This is certainly not a criticism of either performance, but an interesting new take on her. This is never more evident than in “Hedwig’s Lament,” “Midnight Radio” and then his Tommy Gnosis performance of “Wicked Little Town (Reprise)”. No matter how many times I see this show, those last two songs never fail to bring me to tears. The simplicity and stillness of Criss’ performance here after 80 minutes or so of high energy, in your face pure Rock Goddess is breathtaking and Hedwig’s agony just oozes from Criss throughout the stage touching us all. There is a real sense of uneasiness at what Hedwig has been reduced to and an eager anticipation for what is going to happen to her next.

The format for the show makes it the perfect vehicle for Criss, playing to his numerous strengths. The rock concert performance of the songs allows him to work the audience and highlights his youthful energy. However, it’s the cabaret style chit chat with the audience in between numbers where he truly comes alive. Feisty (and boy was she on fire the night after the election) and engaging, Criss’ Hedwig flirts her way into the audience’s heart (some more up close and personally than others). Criss’ quick wit, comedic timing and willingness to just go with whatever is thrown at him from the audience is as much a joy to watch as it is evidently to play. There is no doubt that you are in her domain and Criss certainly takes advantage of that to full effect.

As it was the night following the election, there was no doubt that through the relaxed ad-lib nature of the performance, Hedwig would offer her own special brand of commentary on what has unfolded. Filled with quips such as reminding people to set their clocks back 60 years, that the stage tastes like Mike Pence, numerous “Nasty Woman” references and about the new President-elect (the Grindr and hair ones were particularly good), the show easily touches on today’s concerns. Though one of the more chilling segments is Hedwig’s taunts to Yitzhak and the Angry Inch about immigration coming to get them – as Hedwig remarked, this takes on a whole new meaning now.

Poppy

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Some tweets:



Note:  Yeardley Smith is an actor (she is well-known for playing the voice of Lisa Simpson.  I also knew her from a TV show called Herman's Head).













This person said she has seen every version of this show (on Broadway?). 

Poppy

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From dailydarrennews:



Melissa Claire Egan is currently starring in CBS’s The Young and the Restless










lucy8675309:
Look who’s in the paper  (Orange County register)
Orange County Register



The article is almost word-for-word the same as this article in the Los Angeles Daily News that appeared on November 9.  It's the same writer, Dany Margolies.



Last edited by Poppy on Mon Jan 16, 2017 4:16 pm; edited 1 time in total

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# Repost @shreikingviolette

What an amazing night!!! So honored to have not only witnessed my favorite actor perform but to meet him! Darren Criss has managed to inspire me and keep me going with his amazing musicianship, acting, stage presence, and everything!!! I’m feeling seriously inspired, thanks so much Darren!!! #darrencriss #hedwigandtheangryinch http://ift.tt/2euoT79
DarrenCrissArmy










beehivebuzzing:
11/12

I was incredibly blessed to have the honor of experiencing the genius that is Hedwig and the Angry Inch. Having been a fan of the production/movie I’m so very happy I got to finally see it in the flesh.

And also getting to finally meet Darren Criss.

He was super nice and incredible; but we already knew that.

I got him to sign both of my playbills (Hedwig/Hurt Locker), my ticket stub, and a sugar daddy I happened to buy at The Grove earlier that day, he loved it.
I asked him if he had any lines or songs that he loves about Hedwig and/or the show. He said he loves all the stupid jokes and told us his favorite (which is one where he can only use with Rebecca)

This being the first time meeting him, after so long of wanting to and wishing and missed opportunity, it finally happened and he did not disappoint. He is a true talent and I genuinely love and admire his work. He’s good people
DarrenCrissArmy



Last edited by Poppy on Mon Jan 16, 2017 4:17 pm; edited 1 time in total

Poppy

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Some tweets:

This person is a big Hedwig fan.  She saw NPH, Michael C. Hall and John.  She adores John and also was fond of Michael's portrayal of Hedwig.




She also saw HATAI in SF.  She saw all 4 of Lena's show where she played Hedwig and she saw 10 of Darren's shows in SF.


She also tweeted this:

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More tweets:



Note Dana Chapman is an actor.




















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From dailydarrennews:

Great review by BroadwayWorld:

BroadwayWorld wrote:
BWW Review: Darren Criss Slays in Pantages Stop of HEDWIG AND THE ANGRY INCH Tour



November 15, 2016.
By Michael L. Quintos

It's really not much of a shock to realize right away that Darren Criss is a bona fide triple-threat superstar.

The handsome and talented star of stage and screen---who first caught my attention playing the title role in the unofficial Harry Potter musical that became an online viral hit, and who then later rose to stratospheric fame as gifted gay teen Blaine in the musical TV series Glee---exudes plenty of charm and charisma so effortlessly that it is no wonder that even while disguised as an East German genderqueer lead singer of a glam rock band, his winning personality still shines through every time.

In a theatrical touchdown for the Pantages Theatre in Hollywood, Criss has agreed to reprise the notable title role he stepped into last year on Broadway: as Hedwig in the just-launched national tour of the rousing 2014 Tony Award-winning reboot of the glam rock musical HEDWIG AND THE ANGRY INCH, which began last month in San Francisco and continues its Los Angeles-area performances through November 27 (Euan Morton assumes the role for the rest of the tour starting November 29 in San Diego). Featuring solid direction from Michael Mayer and dynamic new musical staging from choreographer Spencer Liff, the searingly electric, engagingly hilarious show, at its core, celebrates the triumph of living life as authentic and as tenaciously as possible, no matter the constant obstacles. It's certainly a wonderful message to remind everyone in such uneasy times of late.

Explosive, sassy, and utterly mesmerizing, Criss---as evidenced in his recent Opening Night performance in L.A.---easily elevates the already exhilarating production tenfold, as he sings (well, rocks) his way to narrate his out-and-proud character's story up to this very point.


. . .  For 90 seemingly non-stop, intermission-less minutes, Criss---trading in his usual buttery pop-tinged vocal sytlings for powerful rock-infused ferocity---commands attention with every second and handily gets it. Following in the footsteps of prior Hedwigs Neil Patrick Harris, Andrew Rannells, Michael C. Hall, and (again) originator John Cameron Mitchell, Criss took on the role as a replacement (albeit a very marquee-baiting one), yet proves how outstanding he is in interpreting Hedwig, disappearing into the character with his own cadence and emotional tone.

Even better, he is clearly having a ball in the very showy role, which finds him orating Hedwig's truth and, at times, even interacting directly with the audience (some lucky patrons even get really up-close) while in a mini-skirt, wig, and drag-lite makeup. The show is basically one long, drawn-out monologue with inserted rock songs---a one-man, er, I mean, one-woman cabaret show on hormones, steroids, and glitter. And Criss slays in the show.

[ . . . ]

In all honesty, for me, the stage musical is part rock concert, part stand-up comedy set, part intense psychiatric office visit... and all of it is absolutely enthralling. Trask's beautifully crafted songs compliment the vibe. Hedwig's story, her witty one-liners (and Criss' perfectly delivered in-the-moment ad libs), and, finally, seeing her ultimate personal acceptance (and transferring part of that empowerment to Yitzhak) are, together, so wholly different from anything else out there in musical theater land.

[. . . ]

But make no mistake, Criss' return to the role is a big frikkin deal. If you get the chance, go see him (and, of course, the incredible Ms. Hall) in one of the most unique, enjoyably atypical stage musical experiences you will ever see.






Another review:

The Huffington Post wrote:
Hedwig Still Angry, Still Brilliant Extended thru 27th at Pantages

November 14, 2016.  By Charles Karel Bouley

The world is not new to being in shock on November 9th. In 2016, the worldwide shock was that Donald Trump could garner over 59 million votes and even though getting less votes than Hillary Clinton, seal the Electoral College and become President Elect. In 1989 the world sat with mouths open as one symbol of communism, oppression, of dictators fell, the Berlin Wall. Yes, the irony of Trump claiming victory on the day the Berlin Wall fell is not lost on me, nor would it be on Hedwig.

[. . . ]

I almost didn’t want to see it. My history with Hedwig is long and meaningful; and the play holds a very dear place in my heart. In 1999 I was the soundtrack editor at Billboard Magazine, doing a weekly column on movie, TV, stage and all sorts of soundtracks. I got CDs daily to review. One day one came in without much hoopla. It was from a play that was yet to open in New York, written by John Cameron Mitchell and Stephen Trask. Neither were big names in music or theatre at the time. When I put it on and the blaring Rock began, I instinctively tuned out. I’m not a big rock fan. Especially Punk Rock. But my late husband Andrew Howard loved alternative music and insisted we listen. And listen. And listen. And soon I was singing along. Soon we were having a time with the songs, the lyrics about this poor person who had become a “gender of one.” The songs became part of my life.

Late-early-to-mid-1998-1999 Andrew and I had big jobs in afternoon radio at KFI AM 640 Los Angeles and were making OK money. We decided to go to NYC and see the play. And see it we did, in the basement of the hotel where the Titanic survivors were taken. John Cameron Mitchell and Stephen Trask were in the play and it was beyond sublime. It spoke to anyone that had ever been on the outside; anyone that had ever experienced great love and loss; it spoke of identity and how we tie it to various things, like our gender. It was brash and brazen for the era and the hard-edged music matched the raw emotion and sentiment of the play. The theme of duality, of being one once we’ve found THE one, sitting next to my husband, my on and off air partner, my life, being history-making openly gay people in traditionally straight media...the play spoke to our cores.

We would see it again with Michael Cerveris, . . .

Hedwig was a small play with a huge voice, a large heart and a soul, the souls of John Cameron Mitchell and Stephen Trask. When it went big time in 2014 on Broadway, I had my reservations. Was it meant to be a slick production with major stars? Was Hedwig the play, to become like Tommy Gnosis, the character, the slick, produced, soulless sellout that leaves behind the gritty, real, earthy true Hedwig?

Yes, and no.

I went with my friend Daniel Charleston, 29, who had not seen the play. He loved it.   The Pantages knows how to throw a red, or in this case, pink carpet . . .  How funny, I thought, during the original run off-Broadway bodies of dead junkies were taken out around those in line. Now, there’s Hollywood elite lined up.

Darren Criss, of Glee fame, is Hedwig this time out (he’s done it before). Again, how did I feel about a non-gay person playing Hedwig? Broadway had Neil Patrick-Harris, America’s favorite gay. But also Taye Diggs and Michael C. Hall; each, if the internet is correct, brilliant in their own way. Well seeing how Hedwig is indeed a gender of one, it means any one of any gender or sexuality should and could play Hedwig. In fact, the Tony-winning star Lena Hall, famous for playing Yitzhak in the play, often plays Hedwig. So I quickly got over that.

How would a one-man-glam-punk-rock-musical (because it basically is a one man(?) show) that could easily be seen at CBGB (if still open) play at one of the grandest theatres in the world to an audience of Glitteratti? Coco Peru was there, The Sisters of Perpetual Indulgence, heck, me!

Effortlessly. It appears Hedwig’s personna is so large it can fill any theatre and still make it seem like it’s all just for you, that you are, in fact, at a Sizzler or some diner watching this spectacle unfold.

[ . . . ]

The music is still as raw, emotional and shocking as it was in 1998 when it was written and auditioned at the local drag punk bar in NYC by Mitchell and Trask. And as Trump was claiming victory, the themes of the play rang even more true. In fact, between their last production of “Cabaret” and now this, the Pantages is bringing theatre so extraordinarily relevant to our times to the public. Add in the upcoming “Hamilton” and who says Broadway can’t spread social messages?

Criss, who has played Hedwig before, camps his way through the monologues just enough, because Hedwig’s biggest defense mechanisms are wit and tongue combined. Hedwig’s observations and commentaries are biting and often tragic and as he almost screams and demands his way to love and acceptance the audience gets a feel for the vast loneliness that can inhabit a soul.

Hedwig redefined the stage and film version of the Rock musical. Now that it is one of the touring productions, the multi-million dollar big-ticket shows, it hasn’t lost the small theatre honesty and the music remains some of the best written for theatre, ever. The production value is increased, with moving sets and bigger animations for “Origins of Love” but the heart, and soul, has remained.
via DarrenCrissArmy

Poppy

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From DarrenCrissArmy:


From Mike Potter:

# Repost pott28 
http://ift.tt/2f3EoBN
amazing show tonite. #darrencriss #hollywoodpantagestheatre #hollywood #hollywoodpantagestheatre #hedwigonbway





From a Hedwig fan and a voice actor:


Tara is the voice of Bulbasaur on Pokémon. 
DarrenCrissArmy






Jack De Sena saw Darren.  :happy face

# Repost jackdesena 

My buddy #darrencriss is absurdly talented and you should see his show. http://ift.tt/2gkhlFm
DarrenCrissArmy

Note: Jack De Sena is a voice actor (Sokka in Avatar:  The Last Airbender).



Last edited by Poppy on Mon Jan 16, 2017 4:19 pm; edited 1 time in total

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Some tweets:

Will Friedle (Transformers: Robots in Disguise) saw Darren.  :happy face




Note:  Nicole Dubuc is a writer (Transformers) and an actor.












Note:  Christine Boylan is a writer for TV (Castle).





Poppy

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Some tweets:

Speak of the devil, Jonathan Gabay of FOX, went to see the show.





Note:  Lindsay Miller is an editorial director of video at Popsugar/


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From DarrenCrissArmy:


# Repost kimo_cruz    Got to see my boy #darrencriss in his broadway show #hedwigandtheangryinch He is so fucken talented and brilliant! Must see show!! #darrencriss #hedwig #broadway #musical #hapaboys #tbt #menofhawaii #hothunkphilippines #blaineanderson #glee #humor #livetheatre #actor #photooftheday #hollywood #star #moviestar http://ift.tt/2g1D3ce

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Some tweets:

Willie Garson, the actor who was in White Collar with  Matt Bomer, saw the show: 



Note:  I believe the part of the tweet about the fake Republican conmen is referring to Mike Pence's attendance of Hamilton.  You may find this article interesting:  NY Times






Note:  Barry White is a journalist with @KTNV.






















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From dailydarrennews:


missymodell: Holy shit Hedwig. @darrencriss is an absolute genius The message of this show could not be more relevant or important- seriously blown away. Go see it before the show ends, it’s a must.
















greglmoore: Always impressed by the bro @darrencriss and his insane ability to rock out as Hedwig in her 6 inch heels. Go see his incredible and impactful performance @hollywoodpantagestheatre @hedwigonbway #bros #teamDarren #hedwigandtheangryinch

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From DarrenCrissArmy:

the-cimmerians wrote:yeah ok so i went to see Hedwig yesterday and you think i would have been ready for that but I WAS NOT and jfc Darren ripped my fucking heart from my body wtf rain of tears through 90% of the show also he was hysterical and idk i’m just blisteringly grateful to have had the chance to see him do that it was so so so so good

-the-cimmerians:
via DarrenCrissArmy






Some tweets:















Last edited by Poppy on Mon Jan 16, 2017 4:22 pm; edited 1 time in total

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Ok, I am naturally a procrastinator.  My apologies for being so late in posting my review of the two Los Angeles shows I saw.  I thought I should post about those shows, since blaykee and I are off to the Pantages to see the Wednesday matinee!

I wanted to make a few general comments about Darren’s performance in the two Los Angeles shows that I saw so far (Thursday night November 3, and Saturday matinee, November 5).  Just as when I saw him in Hedwig and the Angry Inch on Broadway, I marvel at how wonderfully Darren sings these amazing songs.  He molds his voice to convey various emotions, to capture various tones, singing with rebellious ferocity and power (Tear Me Down), with vivid story-telling tinged with sadness (Origin of Love), with lust and sexiness (Sugar Daddy), with sadness and longing (Wig in a Box, Wicked Little Town), about joyful escape (Wig in a Box), with raw pain, anguish and fury (Hedwig’s Lament, Exquisite Corpse, Angry Inch),  with a spirit of reconciliation, apology, and optimism  (Wicked Little Town Reprise), and with ardent hope, love and inspiration (Midnight Radio).   Darren’s voice is as strong as ever, as powerful and delicate as ever, as adaptive as ever, and most importantly, as passionate and emotional as ever.  He rips into the rock songs with just as much ferocity and furious energy as ever.  It is a sight to behold and electric to hear.   And then he will move you with the more quiet ballads, his voice filled with heartfelt emotion.  (And my husband also thought Darren did a wonderful job with his singing, as I said in my earlier comments about these two Los Angeles shows.) 
 
I would also like to note that Darren definitely has perfected his comic timing in the Los Angeles shows that I saw.  He seems to allow himself more time to let the jokes land.  BTW, my husband is not an easy judge.   But he was very pleased to see how funny Darren was and thought his comic timing was spot on.  


I remember feeling that Darren’s Hedwig (in the Broadway show that I saw) came across to me as full of anger and pain.  And in the Los Angeles shows that I saw, he still portrays Hedwig as angry and wounded, but I feel that now in addition, I also feel more of a sense of Hedwig being tired, worn out by life, worn out by pain and loss, worn out by being feeling so angry and sad, by  feeling so hurt and rejected.   I still saw pain--raw pain--a fresh wound that still blazed red and loud, but I also saw more scar tissue that thickened over time, more sadness that lingered and stayed.

Hare are a few of my thoughts of some differences I saw in the two Los Angeles performances that I attended, when compared to the Broadway show of HATAI that I saw.

Origin of Love

This is one of my favorite parts of this song:  “The last time I saw you, we had just split in two; you were looking at me and I was looking at you.  You had a way so familiar, that I could not recognize because you had blood on your face and I had blood in my eyes.  But I could swear by your expression, that the pain down in your soul . . .  was the same as the one down in mine.”  Darren delivered these lyrics with so much emotion, so much more sorrow.   He lowered his voice to a more intimate, quiet tone, and slowed it down.  I felt Hedwig speaking to this other half, in such an intimate, private manner, conveying the loss of separation.  I was moved.    For the Broadway show, the prevailing feeling I got from the song performance of OOL was a sense of wonder.  Now, the prevailing feeling I got from the OOL song performance in the Los Angeles shows was:  A sense of loss, of sadness.

Wicked Little Town

At the Broadway show that I saw, I noticed that a part of the song performance showed Hedwig looking flirtatiously at Tommy in the audience.  This time, there seemed to be less of that, and Hedwig appeared more introspective when singing.   When Hedwig sang “Lady Luck has led you here,” the painful grimace on her face is more clear.

Wicked Little Town Reprise.   In the Broadway show that I saw, this was not my favorite song.  It was visually stunning, and I did feel the emotion of Tommy and I heard the emotion in Tommy’s voice.   However, in the Broadway version of this song, Darren seemed to try to emulate a punk rock singer like Billy Joe Armstrong.  Just speaking for myself, I found it a bit distracting.  But the second Los Angeles show was eye-opening.    This time, I felt like Darren hit it out of the park in terms of his story–telling, in terms of the way he emphasized certain words or the emotion he put into the song.  It just led me to vividly feel how emotional was Tommy’s apology to Hedwig, his acknowledgement of the damage he inflicted on Hedwig, along with the words of hope, of possibilities Tommy was encouraging Hedwig to see in herself.   Wicked Little Town Reprise was just exponentially more emotional, more touching in the Los Angeles version, where I felt moved because I felt this was the beginning of Hedwig’s self-acceptance.  My husband also remarked how much he felt the emotion in this song (as well as in Wig in a Box, Wicked Little Town, and Midnight Radio).


Immediately after the end of Wicked Little Town Reprise:

I’m of the opinion that after Wicked Little Town Reprise, that the character we see next is a conglomeration of Hedwig/Tommy/Hansel, not just Hedwig.


(Note:  Darren had stated in the Giffoni Film Festival, that he feels Tommy and Hedwig are one and the same person, whether Tommy is a real person, or is a figment of Hedwig’s imagination, or is a symbol within her mind of this other person that is a part of Hedwig .  Hedwig has these divisions within herself because of her personal turmoil within herself and with others, and when she forgives herself and others, when she makes peace with herself and others, she becomes one person.     (https://www.youtube.com/watch?v=0yCkmOkTTZI , Point 8:20)

In the Broadway show I saw, and in the first LA show I saw, there was applause after Wicked Little Town Reprise ended.  In the second Los Angeles, show I saw, there was no applause after the song ended.  Darren’s acting was so powerful, that people became lost in and caught up emotionally just watching Hedwig/Tommy/Hansel struggling to understand who she/he was/is.  There was complete silence.   People were mesmerized, in a sense, hypnotized, with the magic of this silent scene, with the forcefulness and the artfulness of Darren’s acting.  The vivid image I retain in my mind of that scene immediately after the song ended,  is of Darren stretching and straining his torso forward, with one arm and hand slowly but with great effort, stretching and reaching toward the audience, the character’s face expressive, emotional, questioning, the character striving to understand, as the character searched for an answer of what has happened, of who was he/she, and who he/she is now.  It was powerful, compelling, captivating, moving, simply gorgeous acting.  Darren held the audience in the palm of his hand, like a puppet master, controlling the audience with the sheer power of his acting.

After the show, without my prompting, my husband exclaimed what a remarkable scene it was, the scene after that song finished, when Darren was silently acting.  My husband asked me if I noticed there was no applause after the song ended, with him noting there was applause after the song in the first Los Angeles show we saw.  (Note that I never mentioned this issue with him before, of whether there is or is not any audience applause after WLTR ends.)  He stated that Darren was so amazing in his acting, with no words spoken, just with his body language and his facial expressions, that he willed the audience to focus on his character so that the audience was held captive by the power of his acting.

Other differences in general:

--Things that I liked in the  Broadway version that I did not notice in the Los Angeles shows:  Hedwig was almost limping when stumbling along the back wall during Angry Inch.  Also in the scene after Yitzhak spits in Hedwig’s face, Hedwig had this bitter laugh to herself, one that is heartbreaking, just before she began to spiral in Hedwig’s Lament/Exquisite Corpse.

 --Hedwig was more mean to Rebecca’s Yitzhak.  I distinctly remember Hedwig jabbing Rebecca’s Yitzhak with her finger.  R’s Yitzhak was more rebellious, more aggressive, yet it seemed that I saw more tenderness too between Hedwig and R’s Yitzhak.  I saw more love/hate w/ Rebecca’s Yitzhak and Hedwig, than with Lena’s Yitzhak and Hedwig, where Lena’s Yitzhak is more guarded, with more walls up, more cool.

In the scene where Hedwig says “the German and the Jew, think of the publicity," Hedwig delivered the lines with more venom with R’s Yitzhak.  Again, Hedwig seemed more mean, more physically aggressive with R’s Yitzhak.

 --Hedwig’s mother:  I loved the different way that Darren played her in the LA shows I saw.  In the Broadway show I saw, I remember Darren playing her in a way that I wanted more complexity.   She came across as cold and unfeeling, which I know is an important quality of that character.  But I saw versions by other actors that showed more to that character.  Luther said to Hansel and his mother, “to walk away, you got to leave something behind.”  Darren portrayed the reaction of Hedwig’s mother to Luther’s words in a very powerful way.  When Hedwig’s mother said “I always thought so,” Darren played Hedwig’s mother with a variety of emotions in her face and voice:  She was feeling obvious shock at Luther’s words, along with sorrow and compassion for what her son will have to go through, yet pragmatic acceptance of the necessity of the extreme act that her son will have to endure.  Darren did a wonderful job showing the complexity of a minor character with only a few lines in that scene.  Her character came across as multi-dimensional and complex in the LA shows I saw.

--The central scene where Hedwig says to Tommy, “that is what I have to work with.”   In the Broadway performance of this scene, I felt Hedwig said this line with more resignation; in the Los Angeles shows I saw, she said this with sadness but also with some hope, as if quietly pleading with Tommy to accept her as she is, with her heart being in Tommy’s hands and she is pleading with him to please not crush her heart.  I greatly prefer the version in the L.A. show, because it makes Tommy’s rejection of Hedwig that much more powerful.

I agree with Darren that this touring production is tighter than the Broadway show.  The Los Angeles shows that I saw brought more emotion to the dramatic scenes.  I remember being mesmerized by Darren when I first saw him on Broadway in HATAI.  As good as Darren was on Broadway (and I felt he was outstanding), in the Los Angeles shows that I saw of the tour production, I felt his performance was remarkable.  His acting has grown  stronger.  His characterization--not just of Hedwig and Tommy, but also of other characters such as Hedwig's mother--was more powerful, more emotional, more complex.  In particular, his acting after Wicked Little Town Reprise, was stunning, unforgettable, spellbinding, again, simply gorgeous. And his comic timing had improved as well.   I admire Darren's level of commitment to this beautiful work.  I am very proud of him! 



Last edited by Poppy on Mon Jan 16, 2017 4:48 pm; edited 2 times in total

Poppy

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Some Warbler love:  :happy face






DarrenCrissArmy



Last edited by Poppy on Mon Jan 16, 2017 4:48 pm; edited 1 time in total

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Some tweets:



Note:  Seth Abramovitch is a senior writer with The Hollywood Reporter.






Note:  John Roecker is a director (Live Freaky Die Freaky).


He also tweeted this:




lisafabio   I can honestly say that  @darrencriss surprised the hell out of me last night. Went to see hedwig and the angry inch with my boo's @edwinmonzon and @goldiestarling it was absolutely phenomenal.  He was witty, quick, bitchy and sang great.  I have a serious new found respect for this Disney boy.  #hedwigandtheangryinch #hedwig #hedwigonbway #darrencriss #pantages






feketesteve  Incredible performance. Blew away all expectations. Thank you @darrencriss and @Pantages  for a great evening.





@tatianacantu also tweeted:










Last edited by Poppy on Mon Jan 16, 2017 4:49 pm; edited 1 time in total

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This is a really well-done photo with excerpts of media reviews of Darren at the San Francisco and Los Angeles shows of the Hedwig and the Angry Inch tour.


quirkyquantumqueen:

Lift up your hands for Darren Criss’s last Hedwig performance!


Darren was Hedwig (again)
Oct 2 - Nov 27, 2016
San Francisco & Los Angeles



Thank you, Darren!
Credits: Photo (x), Reviews (x x x x x x x x)

via gottalivealoha



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dusty001


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It's so great to read all these lovely reviews/tweets of his performances. He really seem to have made an impression.

Thanks Poppy for putting this all together and for your own review. It was interesting hearing about the differences in the two shows. Just out of interest which one did you prefer?

Poppy

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Hi dusty! 

dusty wrote:
It's so great to read all these lovely reviews/tweets of his performances. He really seem to have made an impression.

Thanks Poppy for putting this all together and for your own review. It was interesting hearing about the differences in the two shows. Just out of interest which one did you prefer?

I agree.  Darren received some wonderful reviews from both the media and the audience. 

Aw, you're welcome dusty. 

Hmmm.  It's sorta hard to say whether I prefer the Broadway show that I saw, or the Los Angeles shows that I saw.  I liked some things about both.  I personally prefer his chemistry with Rebecca and how they portrayed the dynamics of Hedwig and Yitzhak's relationship.  However, both Darren's acting and comic timing are stronger with the Los Angeles shows.





Paul Weber, a casting director and producer (Spartacus, Stargate Atlantis, SGU Stargate Universe) , saw the show:



Last edited by Poppy on Mon Jan 16, 2017 4:52 pm; edited 1 time in total

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I've been anxiously awaiting your review and thoughts Poppy, and they are such an amazing read!  Thank you for taking the time to write them down and share them!  :hug

@Poppy wrote:
I wanted to make a few general comments about Darren’s performance in the two Los Angeles shows that I saw so far (Thursday night November 3, and Saturday matinee, November 5).  Just as when I saw him in Hedwig and the Angry Inch on Broadway, I marvel at how wonderfully Darren sings these amazing songs.  He molds his voice to convey various emotions, to capture various tones, singing with rebellious ferocity and power (Tear Me Down), with vivid story-telling tinged with sadness (Origin of Love), with lust and sexiness (Sugar Daddy), with sadness and longing (Wig in a Box, Wicked Little Town), about joyful escape (Wig in a Box), with raw pain, anguish and fury (Hedwig’s Lament, Exquisite Corpse, Angry Inch),  with a spirit of reconciliation, apology, and optimism  (Wicked Little Town Reprise), and with ardent hope, love and inspiration (Midnight Radio).   Darren’s voice is as strong as ever, as powerful and delicate as ever, as adaptive as ever, and most importantly, as passionate and emotional as ever.  He rips into the rock songs with just as much ferocity and furious energy as ever.  It is a sight to behold and electric to hear.   And then he will move you with the more quiet ballads, his voice filled with heartfelt emotion.  (And my husband also thought Darren did a wonderful job with his singing, as I said in my earlier comments about these two Los Angeles shows.)  
These descriptions are EVERYTHING, Poppy! You so eloquently put to words my exact thoughts too. Darren skillfully takes the audience through such a wide-ranging whirlwind of a story though such diverse songs.  It was an incredible experience to witness it live.



@Poppy wrote:I would also like to note that Darren definitely has perfected his comic timing in the Los Angeles shows that I saw.  He seems to allow himself more time to let the jokes land.  

...

I remember feeling that Darren’s Hedwig (in the Broadway show that I saw) came across to me as full of anger and pain.  And in the Los Angeles shows that I saw, he still portrays Hedwig as angry and wounded, but I feel that now in addition, I also feel more of a sense of Hedwig being tired, worn out by life, worn out by pain and loss, worn out by being feeling so angry and sad, by  feeling so hurt and rejected.   I still saw pain--raw pain--a fresh wound that still blazed red and loud, but I also saw more scar tissue that thickened over time, more sadness that lingered and stayed.

I agree! I felt like he allowed himself more time overall throughout the show and found that quite effective especially in portraying her as "tired, worn out by life, worn out by pain and loss, worn out by being feeling so angry and sad, by  feeling so hurt and rejected." Hedwig's anger seemed less frantic than in the NYC bootlegs/audios I had seen/heard. The "raw pain" and "scar tissue that thickened over time", as you so eloquently describe it, of this more worn Hedwig really just hits you right in the heart and gut.   I'm glad that your impressions were the same. 

During SHNSF's panel "Hedwig and the Angry Inch in Coversation with Darren, Lena, and Stephen Trask, Darren mentioned how he got like 2 notes from Stephen during rehearsals, and that one of them "completely changed the trajectory of this show." (VIDEO: The question about Stephen giving advice starts at about  22:13, and Darren's remark starts at about 22:49). I've been wondering if this fine tuning of Hedwig is what Darren was referring to when he said that.  scratch  Makes me also want to know what exactly Stephen had said to him for both rehearsal notes.  

I'm also happy to hear that your husband was impressed with Darren's performance.  That is high praise!


@Poppy wrote:Hare are a few of my thoughts of some differences I saw in the two Los Angeles performances that I attended, when compared to the Broadway show of HATAI that I saw.
THANK YOU for taking the time to do this, Poppy.  You don't know how much I've been looking forward to reading your thoughts on this!  celebration dance!


@Poppy wrote:Origin of Love

This is one of my favorite parts of this song:  “The last time I saw you, we had just split in two; you were looking at me and I was looking at you.  You had a way so familiar, that I could not recognize because you had blood on your face and I had blood in my eyes.  But I could swear by your expression, that the pain down in your soul . . .  was the same as the one down in mine.”  Darren delivered these lyrics with so much emotion, so much more sorrow.   He lowered his voice to a more intimate, quiet tone, and slowed it down.  I felt Hedwig speaking to this other half, in such an intimate, private manner, conveying the loss of separation.  I was moved.    For the Broadway show, the prevailing feeling I got from the song performance of OOL was a sense of wonder.  Now, the prevailing feeling I got from the OOL song performance in the Los Angeles shows was:  A sense of loss, of sadness.
YES! I felt such a send of loss and sadness for/from Hedwig that I actually cried during OoL. The animation and Hedwig interacting with it was stunning too. 


@Poppy wrote:Wicked Little Town

At the Broadway show that I saw, I noticed that a part of the song performance showed Hedwig looking flirtatiously at Tommy in the audience.  This time, there seemed to be less of that, and Hedwig appeared more introspective when singing.   When Hedwig sang “Lady Luck has led you here,” the painful grimace on her face is more clear.
What a great observation, Poppy. All of these little nuances just bring even more depth to Hedwig's painful journey. Bravo, Darren. And bravo to you, Poppy, for being so perceptive.


@Poppy wrote:Wicked Little Town Reprise.   In the Broadway show that I saw, this was not my favorite song.  It was visually stunning, and I did feel the emotion of Tommy and I heard the emotion in Tommy’s voice.  
However, in the Broadway version of this song, Darren seemed to try to emulate a punk rock singer like Billy Joe Armstrong.  Just speaking for myself, I found it a bit distracting.  But the second Los Angeles show was eye-opening.    This time, I felt like Darren hit it out of the park in terms of his story–telling, in terms of the way he emphasized certain words or the emotion he put into the song.  It just led me to vividly feel how emotional was Tommy’s apology to Hedwig, his acknowledgement of the damage he inflicted on Hedwig, along with the words of hope, of possibilities Tommy was encouraging Hedwig to see in herself.   Wicked Little Town Reprise was just exponentially more emotional, more touching in the Los Angeles version, where I felt moved because I felt this was the beginning of Hedwig’s self-acceptance.  My husband also remarked how much he felt the emotion in this song (as well as in Wig in a Box, Wicked Little Town, and Midnight Radio). 
I wasn't sure what was different about WLT that made it so much more emotional to me, and you've hit it right on the head.  It seemed (to me at least) that Tommy wasn't just "performing" the song as a rock star, but was really singing out to Hedwig with the those words (and even his motions reached out).  I did not get such an emotional reaction to the Broadway version, but wasn't sure if I just didn't catch it. I like that you think this was the beginning of Hedwig's self-acceptance, and I think this version of WLTR hits that home. I'm not sure if I'm making sense.  I should have just said, "Agreed!" to your post above.  lol. 


@Poppy wrote:Immediately after the end of Wicked Little Town Reprise:

I’m of the opinion that after Wicked Little Town Reprise, that the character we see next is a conglomeration of Hedwig/Tommy/Hansel, not just Hedwig. 


. . . 

In the Broadway show I saw, and in the first LA show I saw, there was applause after Wicked Little Town Reprise ended.  In the second Los Angeles, show I saw, there was no applause after the song ended.  Darren’s acting was so powerful, that people became lost in and caught up emotionally just watching Hedwig/Tommy/Hansel struggling to understand who she/he was/is.  There was complete silence.   People were mesmerized, in a sense, hypnotized, with the magic of this silent scene, with the forcefulness and the artfulness of Darren’s acting.  The vivid image I retain in my mind of that scene immediately after the song ended,  is of Darren stretching and straining his torso forward, with one arm and hand slowly but with great effort, stretching and reaching toward the audience, the character’s face expressive, emotional, questioning, the character striving to understand, as the character searched for an answer of what has happened, of who was he/she, and who he/she is now.  It was powerful, compelling, captivating, moving, just breathtaking, simply gorgeous acting.  Darren held the audience in the palm of his hand, like a puppet master, controlling the audience with the sheer power of his acting.

. . . 

 He stated that Darren was so amazing in his acting, with no words spoken, just with his body language and his facial expressions, that he willed the audience to focus on his character so that the audience was held captive by the power of his acting. 
Whoa. What a vivd and beautiful description of that scene, Poppy.  I can just feel the force of the silence from your words.  Darren's physicality just kills especially during these last scenes and leaves you literally breathless.  It's so interesting that your husband picked up on it all too. 

During the performance I saw, there was a smattering to applause after WLTR, but it quickly died down to complete silence. As I mentioned before, what was so amazing that you could just see how Hedwig's awareness/transformation stopped the clapping quickly.  It was remarkable and oh-so powerful to watch that whole scene.


@Poppy wrote:Other differences in general:

--Things that I liked in the  Broadway version that I did not notice in the Los Angeles shows:  Hedwig was almost limping when stumbling along the back wall during Angry Inch.  Also in the scene after Yitzhak spits in Hedwig’s face, Hedwig had this bitter laugh to herself, one that is heartbreaking, just before she began to spiral in Hedwig’s Lament/Exquisite Corpse.
Nice observations! And yes, that spit and Hedwig's reaction (again, Darren taking time to play that out a bit longer to show Hedwig's descent) had the audience absolutely silent after the initial breath intake of shock. Made "Hedwig's Lament" that much more painful and heart-wreching.  And that just spiraled into the "Exquisite Corpse".   


@Poppy wrote:--Hedwig was more mean to Rebecca’s Yitzhak.  I distinctly remember Hedwig jabbing Rebecca’s Yitzhak with her finger.  R’s Yitzhak was more rebellious, more aggressive, yet it seemed that I saw more tenderness too between Hedwig and R’s Yitzhak.  I saw more love/hate w/ Rebecca’s Yitzhak and Hedwig, than with Lena’s Yitzhak and Hedwig, where Lena’s Yitzhak is more guarded, with more walls up, more cool.

In the scene where Hedwig says “the German and the Jew, think of the publicity," Hedwig delivered the lines with more venom with R’s Yitzhak.  Again, Hedwig seemed more mean, more physically aggressive with R’s Yitzhak.
Agreed!  This was one thing I noticed right away.  I loved the chemistry between Darren and Rebecca, and thus the connection between Hedwig and R's Yitzhak seemed so much closer and yet viscious too. I thought it was maybe because I didn't get to pay as much attention to L's Yitzhak as I did with R's Yitzhak in the bootlegs. 

I also liked how, during the Broadway MR, Hedwig actually gives Yitzhak a little push or send off for the newly wigged Yitzhak as Hedwig sings "shining" as in "and you're shining like the brightest star"--and Yitzhak raises his hands in triumph as Hedwig looks happy for him. That little push/send off seemed like a beautiful visual step in Hedwig's self-acceptance/healing and I loved it, so was a bit disappointed that it didn't happen during the performance I saw (or the SF/LA videos I've seen so far).   


@Poppy wrote: --Hedwig’s mother:  I loved the different way that Darren played her in the LA shows I saw.  
...

Darren portrayed the reaction of Hedwig’s mother to Luther’s words in a very powerful way.  When Hedwig’s mother said “I always thought so,” Darren played Hedwig’s mother with a variety of emotions in her face and voice:  She was feeling obvious shock at Luther’s words, along with sorrow and compassion for what her son will have to go through, yet pragmatic acceptance of the necessity of the extreme act that her son will have to endure.  Darren did a wonderful job showing the complexity of a minor character with only a few lines in that scene.  Her character came across as multi-dimensional and complex in the LA shows I saw
Well said, Poppy. I got more depth to her feelings about her son.  I now understood that it was not just a practical decision for her, but that she desperately wanted more for him under that harsh exterior too.  


@Poppy wrote:--The central scene where Hedwig says to Tommy, “that is what I have to work with.”   In the Broadway performance of this scene, I felt Hedwig said this line with more resignation; in the Los Angeles shows I saw, she said this with sadness but also with some hope, as if quietly pleading with Tommy to accept her as she is, with her heart being in Tommy’s hands and she is pleading with him to please not crush her heart.  I greatly prefer the version in the L.A. show, because it makes Tommy’s rejection of Hedwig that much more powerful.
YES! THIS! I found myself aching for Hedwig so much, especially knowing that Tommy was about to reject her.  The weary sadness that Darren brought to his portrayal of Hedwig throughout the show all led up to this moment, and all of the hope/hurt she put as she slowly uttered those words, just shattered me.  Your description is so spot on accurate, Poppy! I cried here too.

THANK YOU for sharing your perceptive observations, Poppy.  Your descriptions always are so vivid and insightful!  I enjoyed every bit of it!   bow to you :hug

I can't wait to hear from you and blaykee how last Wednesday's peformance was. *hint-hint with no stress involved*  It was nearing the end of the run, and afer the elections, so I'm sure it was incredible to behold! 8)   



Last edited by Lilikoiluv on Thu Dec 01, 2016 5:25 pm; edited 3 times in total (Reason for editing : because I can't type accurately and forget to post the video links :/)


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My apologies for the double post, but I just had to respond to this lovely statement that Poppy made: 


@Poppy wrote:Looking at some tweets about the show, it struck me how seeing Hedwig and the Angry Inch has helped folks in terms of finding hope and some light, which is so important because of the uncertainty and anxiety felt by so many subsequent to the election.   This show is more inspirational than ever, given what has just happened in the U.S..   I'm glad Darren, through his performance and through his kind words at stage door, has helped lift the spirit of others.  
I'm so proud and thrilled for Darren, Lena, and company for their incredible start to the "Hedwig and the Angry Inch" National Tour!  applause 

I’m also happy that both his runs coincided with interesting moments in history, and that Hedwig was a voice that resounded with audiences during those times.  Hedwig was a source of joyful celebration during the Pride Week celebrations and the passing of the the Marriage Equaliy Act during his Broadway run; and as you said above, she has also been a source of inspiration and hope during this chaotic and distressing aftermath of the Presidential Election. I'm so happy and proud that Darren was a part of those moments. 8) :love  


OT:  Poppy, I'm SO EXCITED that you'll be enjoying Darren's Feinstein's gig tonight!  With all of the wonderful things that have happened and will happen for Darren (Hairspray Live! eek!), it will surely be a wonderful event for both Darren and you all.  Have FUN!  I'll keep my fingers crossed that he'll also surprise everyone and play some new songs from his upcoming album and uses this gig to announce the release date too!  It's only natural right?   thumbs up :fingers crossed


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