hedwing

JUST BECAUSE THEY’RE IN THE ORIGINAL CAST IT DOESN’T MEAN THEY’RE THE BEST AT PORTRAYING S CHARACTER OR THAT THEIR PORTRAYAL IS THE ONLY GOOD ONE!!!!!!

A (brief) masterpost of musicals!

(I don’t own/ didn’t record these) Also, they’re all on YouTube (if any don’t work, I can probably get a different video for you from somewhere else, just send a message. I have a heck of a lot of links) All links working as of 14/06/17

Tony Awards (full show)

Updated Bootleg Collection!!

Wow guys! i was so pleasantly surprised to the response to my first bunch of bootlegs! i have a bunch more for you!
Bootlegs:
Heathers
Heathers with Thomas Sanders (audio only)
Amélie (with Philippa Soo)
Dear Evan Hansen OBC
The Lightning Thief (audio)
Book of Mormon OBC
Book of Mormon Chicago
Legally Blonde
Next to Normal (Broadway Cast)
Next to Normal (OBC) (last performance of alice ripley, jennifer damiano, Brian d'Arcy James with speeches at the end)
Next to Normal (Off Broadway cast)
(Includes cut songs and scenes)
Hamilton OBC
Hamilton OCC
Natasha Pierre and the Great Comet of 1812 (audio only)
Waitress OBC
Waitress (Opening Night with Sara Bereilles) (audio only)
Falsettos
Wicked OBC (KC’s last)
Wicked OBC
Wicked with Nicole Parker, Alli Mauzey, Aaron Tveit
Something Rotten!
Newsies OBC
Newsies 2013 cast (Corey Cott, Kara Lindsay, Andrew Keenan-Bolger, Ben Fankhauser)
Newsies Tour
In the Heights OBC
Bare (Off-Broadway)
Fun Home OBC
Deaf West Spring awakening
Bloody Bloody Andrew Jackson OBC
Pippin
Mamma Mia! OBC
Spongebob the Musical
Beautiful: A Carole King Story OBC
Cinderella OBC
Sweeney Todd (audio only)
Side Show
Hedwing and the Angry Inch
Miss Saigon
Paramour
Tuck Everlasting OBC
On The Twentieth Century
A New Brain
Little Shop of Horrors
Lion King (London)
Les Mis OBC
Rent
School of Rock OBC
American in Paris OBC
Rocky Horror Picture Show
Carrie the Musical
The Last Five Years
Once on this Island
Thoroughly Modern Millie OBC
The Nightman Cometh
Marilyn An American Fable
Aladdin
Finding Nemo
Gigi OBC
Charlie and The Chocolate Factory (London)
Chaplin
Bonnie and Clyde
Phantom of the Opera
Ahhh i hope i can help you guys out! i love trading (finding new musicals is the best part of this) and am always willing to gift so!! just shoot me a message if you’re interested in anything :))

There’s a lot of Falsettos, Book of Mormon, and Dear Evan Hansen on my dash rn so reblog if you post:
•Heathers
•Phantom of the Opera
•Great Comet
•Fun Home
•21 Chump Street
•Next to Normal
•Hedwig and The Angry Inch
•Charlie and the Chocolate Factory (really just anything Christian Borle lmao)
•Pit orchestra or tech theatre stuff
•Just any other musicals I love listening to new stuff

Funny Coincidences between Darren and Neil Patrick Harris

They are both in GLEE

Darren as Blaine Anderson (Season 2-Season Final)

Neil as Bryan Ryan (Season 1 Episodio 19 “Dream On” )

They sing Piano Man and Daydream believer man in GLEE

Darren’s Piano Man

Neil’s version

Klaine Daydream Believer 

Neil’s Daydream believer and his wonderful magic trick <3

They are Hedwig

Last but not least…..
They both madly in love with their better half

Understanding the End of Hedwig

I have read, in a lot of places on the internet, people saying they don’t get the ending of Hedwig and the Angry Inch. Which is fair, it’s quite odd and confusing but I also think it’s worth understanding, because I think the message is truly beautiful. As with all art, it’s open for interpretation, and Hedwig is very layered so you can either skim the surface or dive in deep.

So the ending. You have a choice – the short version (brief, vague) or the long version (where I delve into the storyline, the songs and the parallel that is Yitzhak).

The short version of it is:

The play is about identity and self-acceptance. Hedwig spends the musical searching for his literal other half, the person who will complete him, make him whole. What he is actually searching for is acceptance, love and identity. (He says early on that “it’s the geography of human contact. The triangulation of a pair of eyes on my face, the latitude and longitude of a hand on my body, these are the only clue I have to my place in the world.”) Hedwig’s struggle with his identity comes of a climax (bud-dum-shh!) when he accepts himself, without the wig, or the heels, just him. The metaphor of him morphing into Tommy is that Tommy is a representation to us the audience as the other half of himself that he was trying to find and in accepting himself he becomes whole. In the musical, Tommy & Hedwig are played by the same actor forming a visual representation to the audience that he was whole the entire time. Taking this further, you could argue the part of himself he wasn’t accepting was the male part of himself.

So, Tommy represents the other half of himself that he wasn’t accepting, so in taking on Tommy’s appearance but still being Hedwig we see him accept himself as a whole.

The long version:

I repeat. As with all art, it’s open for interpretation. And for clarity, I have seen the original off-Broadway bootleg, the feature film, the new Broadway production with Neil Patrick Harris, JCM & Darren Criss. I have not however read the book.

For me, the musical is about identity and self-acceptance. One of the most important songs to the plot is “Origin of Love” it lays out Hedwig’s whole underlying belief system through out the narrative of his life. Throughout his story he is searching for his “other half” the one that was taken from him ‘when the earth was still flat and the clouds made of fire’ and Zeus “split them right down the middle… cut them right up in half”. He sees his other half as someone who would understand him completely expressed in the lyric “the pain down in your soul/Was the same as the one down in mine”, so his search for his other half is his search for acceptance.

You may have noticed I use the pronouns “him/his” as opposed to “she/her”. Obviously, this is a tricky issue and could I have a chat, I’d ask, however my reasoning is as follows: From the play we know Hedwig was born Hansel Schmitt, a biological male and forced to have a sex change in order to escape East Berlin. John Cameron Mitchell has said in an interview that Hedwig never identified as female, he is not in fact a transgender female – though biologically he is. So, in desperation to find his other half he sacrifices a large part of his own identity and embraces a female identity, however his still identifies as male hence I use “he/his”.

One of my favourite songs of the musical is “Wig in a Box” and I really love the performance aspect the Broadway Production added, particularly Darren Criss’ interpretation. The key line in the song is:

“And pull the wig down from the shelf
Suddenly I’m Miss Beehive 1963
Until I wake up
And turn back to myself”
(Wig in a Box)

The important thing to get from this song, is he puts on a lot of wigs in his life but it’s only when he removes the wigs, when he’s putting himself to bed, is he truly himself. Hedwig – a stunningly well picked name – is a character, a persona he hides behind because he struggles to accept who he is. All that in your face attitude, it’s an aggressive way of hiding.

Now, this post is about explaining the end of the play, I’m getting there. But there is another significant character in the musical – Yitzhak. Yitzhak’s story runs both as a parallel and a contrast to Hedwig’s.

The parallel comes as both Hedwig and Yitzhak, in order to escape oppression, they had to give up a part of themselves – a part of their identity. For Yitzhak, it was the female part, the drag queen persona. In the musical, Hedwig is played by a biologically male actor, whilst Yitzhak is played by a biologically female actress. This is very, very important as even though both characters are born biologically male – deep down what they identify as is reflected by their actor. Hedwig looses his penis – the physical representation of his male identity, whilst Yitzhak looses the wigs, the female part of his identity. The Contrast.

Now, the parallel of Yitzhak’s story obviously means the end of his story is a reflection of the end of Hedwig’s. Which is why I think it’s important.
(On a side note: Yitzhak’s whole story is shown much better in the onstage musical, particularly the revival. When I saw the feature film, which is the first version of Hedwig I saw, Yitzhak’s whole story was lost on me. I was completely bemused and confused when he was auditioning for Rent or something? It’s just one of the layers that I think it was difficult to replicate in the film.)

So in “Exquisite Corpse”, Hedwig goes nuts, everything goes a bit ballistic, he’s confused, frustrated and angry. In the original onstage production he physically tears his dress off removing the wig and fake boobs. Then we move in to “Wicked Little Town – Reprise”. (This is my favourite song.) And it is so frustrating that in the feature film because Tommy Gnosis is cast as a different actor to Hedwig it doesn’t quite capture the same meaning as the onstage production. I understand why it was necessary though.

This is where things become very open to interpretation. Has Hedwig become Tommy? Have they reformed to become one? Actually put themselves back together? Is it just a symbol of Tommy finally understanding Hedwig?
Potentially, all of the above.

For me, it’s a metaphor. The reworded song lyrics show Tommy is trying tell Hedwig that he understands what Hedwig’s gone through, he realises how hard his life’s been and how much he’s had taken from him in life. At the same time it’s Hedwig coming to terms with everything he’s gone through.

“And there’s no mystical design
No cosmic lover preassigned.
There’s nothing you can find
That can not be found.
‘Cause with all the changes
You’ve been through
It seems the stranger’s always you
Alone again in some new
Wicked Little Town.”
(Wicked Little Town - Reprise)

Hedwig has finally accepted himself. He’s been searching for somewhere to belong all his life but everywhere he goes he gives up parts of himself to not recieve the acceptance he desires in return. His mother never cared for him, his husband left him after him giving up his penis, Tommy left him after taking away his music.

“Know in you soul
Like your blood knows the way
From you heart to your brain
Know that you’re whole
(Midnight Radio)

He has accepted he isn’t half of a whole but is whole himself. He doesn’t need anything else, be it the wigs, the heels, the make up or even another person.

The metaphor of him morphing in to Tommy is that Tommy is a visual representation of the other half of himself, the half he was trying to find and in the end it was him that actually needs to accept himself. Tommy is the symbol of the missing part of himself, he needed to accept.

So finally, in Midnight Radio he gives Yitzhak the wig that Yitzhak has been craving the entire play (“I’m bearing my soul here and you’re masturbating with acrylic hair!”) Yitzhak is allowed to embrace his true self just as Hedwig learns to embrace himself. Hedwig leaves the stage as Hedwig but looking like Tommy.

The play is about identity and self-acceptance. I think it’s beautiful because it’s something so many people struggle with. Be it your gender, orientation, body image or even if you’re a heterosexual, cis-person simply trying to accept yourself in your own skin. As I said, not everyone’s going to interpret it the same way as me, but hopefully this might help one person get Hedwig.

(Just as a last note: pronouns for Yitzhak are tricky as its never resolved if he/she identifies as female in a drag queen sense, or a transgender way. I went with male pronouns as they’re used in the musical.)

aeternumque manus carpebant rite laborem.
laeva colum molli lana retinebat amictum,
dextera tum leviter deducens fila supinis
formabat digitis, tum prono in pollice torquens
libratum tereti versabat turbine fusum,
atque ita decerpens aequabat semper opus dens,
laneaque aridulis haerebant morsa labellis
quae prius in levi fuerant exstantia filo.
ante pedes autem candentis mollia lanae
vellera virgati custodibant calathisci.

– from Catullus 64


“…and the hands [of the Fates] properly plucked at their eternal labor. The left held the distaff wrapped in soft wool; then the right, lightly drawing it out, formed the thread with upturned fingers; then twisting it on a downturned thumb, she turned it on a spindle weighted with a round whorl; and from there the tooth, plucking it off, evened up the product, and tufts of wool which were standing out before on the light thread stuck to dry lips; and at their feet twig-woven baskets guarded the soft fleeces of white wool.”


our name is Fayts
and wen man laffs
at thred of fayt
on our distaffs

we pluk the wool
we draw tord hed
we byt it off
we lik the thred

Broadway Bootlegs!

I am a new to the bootleg club and I have a few videos I want. If you have these and are willing to give them to me, I would greatly appreciate it!!!

• any Hamiltons (not OBC or OCC or lexi or swings)
BOM OBC or OCC
Amelie with Samantha Barks
Natasha, Pierre, and the Great Comet of 1812
Newsies OBC
Hedwig w/ Darren Criss
Les Miserables with Carrie Hope Fletcher
Aladdin pre-broadway
Matilda with Sophia Gennusa
Curious Incident
• The color purple act 2
Heathers full oc(if that even exists) edit: it does exist
Anastasia pre-broadway

THANKS AGAIN THE BOOTLEG COMMUNITY IS GR8