WIG IN A BOX,
HEART ON A SLEEVE

NCTC reinvents the cult classic with a fierce,
funny, and deeply moving Hedwig

Samuel del Rosario

John Cameron Mitchell and Stephen Trask’s Hedwig and the Angry Inch has traveled a remarkable road since premiering Off-Broadway in 1998. Part rock concert, part confessional, part gender-exploration odyssey, the musical became an underground sensation before reaching a wider audience through the 2001 film adaptation. Nearly three decades later, the show’s themes of identity, belonging, and self-acceptance remain as resonant as ever.

New Conservatory Theatre Center closes its season with a fresh take on the cult favorite, relocating the action to present-day San Francisco and peppering the script with references to current politics and pop culture. To help newer audiences navigate terminology that has evolved since the show’s debut, NCTC even provides a “queer glossary” in the program explaining terms such as “cisgender,” “non-binary,” and “genderqueer.” The gesture underscores just how much the cultural conversation has changed while reinforcing why Hedwig continues to feel relevant.

The musical follows Hedwig, a self-described “girly boy” whose botched gender-confirmation surgery leaves them with the titular “angry inch.” Performing in a nightclub with a live band, Hedwig recounts a life story filled with heartbreak, humor, longing, and an ongoing search for wholeness.

Director Chris Morrell smartly leans into the intimacy of NCTC’s basement theater, making the venue itself part of the action. The audience is not merely watching a performance; it feels as if they have stumbled into one of Hedwig’s late-night club appearances.

Samuel del Rosario as Hedwig and trixxie carr as Yitzhak

On opening night, frequent NCTC performer Samuel del Rosario delivered a mesmerizing Hedwig. Onstage for nearly the entire 90-minute running time, del Rosario commands attention from the moment they appear in a platinum-blond wig, ripped jeans, and a mesh top. Part stand-up comic, part storyteller, part rock star, Hedwig spends the evening navigating a minefield of trauma and self-discovery, yet never seeks pity. Del Rosario’s performance balances vulnerability with swagger, drawing the audience into every twist of the character’s journey.

Opposite Hedwig, drag performer trixxie carr gives a beautifully calibrated performance as Yitzhak, Hedwig’s long-suffering spouse and backup singer. Initially subdued and resigned, Yitzhak slowly emerges from the shadows as years of frustration boil to the surface. By the show’s conclusion, Carr unleashes a vocal power that transforms the character from supporting player into emotional equal. The arc is one of the production’s greatest pleasures. The device here is that carr and del Rosario will alternate the roles of Hedwig and Yitzhak, so your second visit is a completely different take.

trixxie carr

Music remains central to Hedwig’s appeal, and Stephen Trask’s score has lost none of its potency. Audience members enthusiastically sang along to “The Origin of Love,” joined in the fun of “Wig in a Box,” and swayed to the soaring finale of “Midnight Radio.” The live band is fully integrated into the action rather than tucked away in a corner. Guitarist Diogo Zavadzki, drummer Bea Cuffie, bassists Kumi Maxon and Alice Schmitz (rotating), and pianist Jake Gale become active participants in Hedwig’s world, responding to cues and interacting throughout the evening.

Fuchsia‘s choreography keeps both Hedwig and Yitzhak in constant motion across Matt Owen‘s graffiti-covered set, which evokes echoes of the Berlin Wall imagery associated with earlier productions while fitting comfortably into NCTC’s compact performance space.

The Band

What made Hedwig and the Angry Inch feel revolutionary in 1998 still gives it power today. The show’s argument is not merely about gender identity but about the universal human search for completion, acceptance, and authenticity. Hedwig refuses to be defined by circumstance, victimhood, or society’s expectations. Instead, the character insists on the right to exist fully and unapologetically.

That message continues to resonate, particularly at a moment when queer and trans communities remain frequent targets in cultural and political debates. Yet the show never feels like a lecture. It succeeds because it wraps its ideas inside humor, music, heartbreak, and exhilarating theatricality.

I’ve seen several productions of Hedwig and the Angry Inch over the years. NCTC’s version ranks among the very best. It is funny, moving, musically thrilling, and emotionally honest. Small wonder the run has already been extended. If you’ve never encountered this cult classic before, this production is an ideal introduction. If you’re already a fan, you’ll find plenty here to remind you why Hedwig has endured.

trixxie carr as Hedwig, Samuel del Rosario as Yitzhak (photo by Lois Tema)

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unless noted, photos by Rachel Z Photography

Hedwig and the Angry Inch
New Conservatory Theatre Center
Walker Theatre, 25 Van Ness Ave @ Market St, San Francisco
90 minutes, no intermission
Wed & Thurs at 7:30; Fri & Sat at 8; Sun at 2
ends on June 14, 2026
for tickets ($35.50–$72.50), call 415.861.8972 or visit NCTCSF

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