Hedwig & The Angry Inch

Book by John Cameron Mitchell

Music & Lyrics by Steven Trask

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Jordan Kramer

Laura Elise Chapman


Laura Elise Chapman

Jordan Kramer

the angry inch

Robert Ikey Starks on guitar

Matt Oviatt on keyboard

Scott Robinson on drums

Celeste Fay on bass

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Director's Note

Our 2019 production of Hedwig was lightning in a bottle. We took a risk by putting it onto our second season--we’d never produced a musical in our space before and I’d certainly never directed one. But as often happens, magic brought together the most amazing cast and crew anyone could have ever asked for. When the pandemic hit and we shuttered our doors just days before opening a double-header production of Trifles and A Number (both of which I had directed) we thought it was going to be for a few short weeks. Then weeks turned to months, and it became clear that it was going to be some time before we could open. We made do by putting together two streaming productions as well as a drive-in style live performance outside, with the audience listening to the actors' microphones through their radios akin to a drive-in movie, but our indoor space sat vacant. I knew that when we opened again I wanted us to be able to come back with a bang, a celebration--Hedwig. Most of our cast and crew was able to return. Cleveland McKay Nicoll, one of our original Hedwigs, Ryan Throckmorton Fallis our Lighting Designer, and Meagan Johnson our Stage Manager unfortunately had scheduling conflicts that made them unavailable, and tragically our keys player Brooks Hiatt had recently passed. Everyone else however was on board, available, eager, and generous enough to give their time to try to catch that lightning in a bottle for a second time. After 16 long months I am happy to be able to welcome you back to An Other Theater Company and am honored to have had the opportunity to direct our homecoming show. I hope you have an absolute joy of a time--you deserve it.

Kacey Spadafora, Director

special thanks
to our supporters


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Director - Kacey Spadafora

Choreography - Kailey Azure Green

Stage Manager - Miranda Richards

Dramaturgy - Frey Seagrove-Nelson

Sound Design and Mixing - James Mayo 

Lighting Design - Emma Belnap (based on original design by Ryan Fallis) 

Set and Projections Design - Scott Caldwell

Costume Design - Ash Wix

Hair and Makeup Design - Pan Lynn Arcadia

Original Production Music Director - Marshall Madsen

Dresser - Laryne Lawsen

Program design - Liz Whittaker


Dramaturg's Note

Since first being developed and performed in 1998, Hedwig and the  Angry Inch has been an iconic, fun and irreverent exploration of identity,  authenticity, duality, and gender. This show is also one of the best known theatrical works featuring a transgender main character. However, it’s  important to recognize that although Hedwig and the Angry Inch is a transgender story, it is not the transgender story. Although there is no typical trans story, the story of Hedwig and her transition is certainly atypical. Hedwig’s story and her gender identity seems to encompass aspects of trans identity, gender presentation, genderfluidity, queerness, and drag performances; elements that may or may not be part of the story of trans and gender-non-conforming individuals today.  


For this production, the role of Hedwig has been dual cast. Both of the actors portraying Hedwig in this productions are cisgender (individuals whose gender identity matches the gender they were assigned at birth)--one cis woman and one cis man. Although casting cis actors as trans characters is a complicated matter, Hedwig is usually cast as a cis man because Hedwig’s gender identity is not necessarily what we would think of as typical trans identity; instead of being someone who transitions to confirm their gender identity, Hedwig was someone who didn’t meet the traditional standards of a masculine gender identity and was forced to surgically transition out of necessity. 


Throughout the performance, Hedwig alludes to some very binary mentality with regards to gender and some assumptions about monogamy as a default for romantic loving relationships. Much of this binary language arises from the era in which this play was first produced. The way that we discuss gender identity and gender expression has changed in the 20 years since the script was written. That being said, much of the play is about Hedwig realizing within herself that she doesn't conform to these gender binary standards, nor should she be expected to. More than two decades after her creation, Hedwig truly continues to defy categorization.  


For more information about trans issues and trans terminology, please  visit:  

Trans Student Educational Resources (TSER) 

GLAAD’s Transgender Resources  


During the performance, Hedwig does casually use some derogatory and offensive terms like “short bus”, “girly-boy”, “gypped” and “Jew.” Our  production team decided to maintain these portions of the script uncensored because Hedwig is a flawed individual with some problematic views and abusive actions, so sanitizing her use of language would not be true to her character. That being said, we do apologize to anyone experiencing any marginalization, discomfort or offense because of this language.  

Frey Seagrove-Nelson, Production Dramaturg

In loving memory of


Former keyboardist of The Angry Inch

March 25, 1994 - February 11, 2021​

If you or someone you know is struggling with thoughts of suicide, call the

National Suicide Prevention Hotline



The Utah Crisis Line


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