John Cameron Mitchell (Creator and Star of Hedwig and the Angry Inch) - INTERVIEW

Summary

Podcast Summary: MickeyJoTheatre - Interview with John Cameron Mitchell

In this engaging episode of MickeyJoTheatre, host Mickey Jo sits down with the multifaceted artist John Cameron Mitchell, best known as the creator and star of the groundbreaking musical Hedwig and the Angry Inch. Released on June 30, 2025, this interview delves deep into Mitchell's artistic journey, his upcoming projects, and his perspectives on identity, creativity, and the evolving landscape of queer theatre.

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1. Introduction to the Interview

The conversation kicks off with excitement surrounding John Cameron Mitchell's upcoming London West End stage debut at the Adelphi Theatre. Mitchell shares his enthusiasm for performing a one-night-only concert, highlighting the unique blend of his past work and new material.

Mitchell (01:22):

"It's going to be a hoot because I'm on the set of a pre-existing musical hit that I'm not allowed to mention the name of. But everyone will figure it out, which I think is an appropriate one for us."

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2. Details of the Upcoming Concert

Mitchell provides an insightful overview of his concert, which promises a rich mix of performances ranging from Hedwig favorites to songs from his solo albums and new works. He emphasizes the concert's homage to diverse influences, including David Bowie and Bauhaus Berlin design, showcasing his commitment to blending theatricality with rock elements.

Mitchell (02:20):

"I'll be using a great costume I used for a show called Origin of Love by Eric Bergren. That's six costumes in one, inspired by Bauhaus Berlin design Oscar Schlemmer, to be specific, whom Bowie also was inspired by."

He also expresses a deep personal connection to the UK, referencing his mother's British heritage and his formative years spent in Scotland, which have significantly influenced his artistic sensibilities.

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3. Artistic Philosophy and Identity

A substantial portion of the interview explores Mitchell's thoughts on identity politics and the pressures of labeling in the creative industries. He discusses his resistance to being pigeonholed, advocating for a fluid understanding of identity that transcends traditional categories.

Mitchell (04:45):

"I refuse to fit into any category. I do not like to be pigeonholed. I find it limiting."

He elaborates on how capitalism and societal expectations attempt to shape artists and how maintaining originality often requires working outside established systems. Mitchell reflects on the evolution of Hedwig, noting its transition from punk roots to Broadway success, underscoring his belief in creating art that remains true to its original spirit despite mainstream adaptation.

Mitchell (05:30):

"Original comes naturally when you're freed up. Even if you're imitating someone you love, it's coming through your body and it's coming out in an original way."

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4. Community and Collaboration

Mitchell emphasizes the importance of community based on creative collaboration rather than fixed identities. He shares his approach to leadership, inspired by his father's collaborative style, fostering environments where uniqueness thrives without the constraints of rigid labels.

Mitchell (09:22):

"I'm a leader in my projects... Collaborative work. That's how I developed Short Bus, through improvisation."

He also touches on the role of Hedwig as a communal avatar for outsiders, highlighting its universal appeal beyond queer identities to anyone who feels marginalized or disconnected.

Mitchell (15:03):

"All genders, all races, all ages can play Hedwig. It is drag. It's a character. And the people who have played it find that it has changed their life massively."

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5. Hedwig's Cultural Impact and Relevance

The discussion shifts to the enduring relevance of Hedwig and the Angry Inch in contemporary society, especially amidst the politicization of queer identities and drag culture. Mitchell underscores how Hedwig serves as both a timeless outsider and a symbol adaptable to various interpretations without losing its core essence.

Mitchell (17:43):

"Hedwig always remains an outsider... I'm very happy for other people to interpret it the way they want to, to direct it the way they want to, you know, to add things to the script that's built into the script."

He advocates for the universal applicability of Hedwig, ensuring that it remains a beacon for those seeking connection and self-expression amidst societal challenges.

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6. Evolution of Hedwig Songs and Their Meanings

Mitchell reflects on the transformative nature of Hedwig's music, particularly how songs like "Midnight Radio" have evolved in meaning over time. He appreciates the songs' ability to resonate with diverse audiences, incorporating tributes to various musical icons and themes of rebellion against oppressive systems.

Mitchell (19:35):

"Midnight Radio is the one that's most flexible in that it includes so many people... We tribute Patti Smith and could be Patti LaBelle. We just say Patti."

He highlights the songs' homage to legendary artists and their role in inspiring new generations of performers to challenge the status quo.

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7. Upcoming Concert Guests and Collaborations

Mitchell teases an impressive lineup of guest artists for his London concert, including notable Hedwig alumni like Mason Alexander Park and Davina DevaCampo. He also mentions special appearances by pop stars such as Boy George and other rising queer talents, promising a night of dynamic performances and collaborative excellence.

Mitchell (22:05):

"We're hoping he can join us in the UK. So it's going to be Old Home Week and New Friends Week and I'm very much looking forward to it."

This section underscores the concert's theme of unity and the blending of old friends with new collaborators, reflecting Mitchell's dedication to fostering a supportive artistic community.

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8. Conclusion and Final Thoughts

As the interview wraps up, Mitchell reiterates his vision for Hedwig as a versatile and enduring character that continues to inspire and empower performers and audiences alike. He emphasizes the importance of authenticity and creative freedom in sustaining the spirit of Hedwig and, by extension, the broader queer theatre movement.

Mitchell (25:25):

"I love that Hedwig will remain... It's not a moneymaker which has kept it pure because I truly believe too much money corrupts as much as too little."

His closing remarks highlight a balance between artistic integrity and financial sustainability, advocating for a pristine creative vision untainted by commercial pressures.

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Key Takeaways

• Artistic Integrity: Mitchell champions the creation of art outside conventional systems to preserve originality and authenticity.

• Fluid Identity: He advocates for a nuanced understanding of identity, resisting restrictive labels and promoting individuality.

• Community through Creativity: Emphasizing collaborative work, Mitchell believes in building communities centered around creative expression rather than fixed identities.

• Enduring Relevance of Hedwig: The musical remains a powerful symbol for outsiders, adaptable to various interpretations while maintaining its core message of resilience and self-discovery.

• Upcoming London Concert: Promises a rich tapestry of performances featuring notable guest artists, celebrating both established and emerging talents in the queer and theatrical communities.

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This comprehensive interview offers profound insights into John Cameron Mitchell's artistic philosophy, his commitment to queer representation in theatre, and his ongoing efforts to push the boundaries of creative expression. Listeners gain a deeper appreciation for Hedwig and the Angry Inch and Mitchell's role in shaping contemporary queer theatre.

Transcript

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[John Cameron Mitchell]

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[Interviewer]

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[John Cameron Mitchell]

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[John Cameron Mitchell]

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[Interviewer]

Oh my God. Hey, John Cameron Mitchell. Very exciting to meet you.

[John Cameron Mitchell]

Nice to meet you, yeah.

[Interviewer]

So you're getting ready to do your London West End stage debut at the Adelphi Theatre next month in a one night only concert. Tell us a little bit more about that.

[John Cameron Mitchell]

Well, I mean those doing the Dark Knight shows makes sense in the uk, I think. In the US it's union issues, but it seems like a waste of space. But it's going to be a hoot because I'm on the set of a pre existing musical hit that I'm not allowed to mention the name of. But everyone will figure it out, which I think is an appropriate one for us. You know, when we did Hedwig on Broadway, we tried to explain why she could be on Broadway, you know, in real, if she was real. And we had her on the set of a show that we invented that just closed, which was the Hurt Locker musical. So she's in the middle of an exploded Iraqi street and that the disaster of her life act, you know, dovetailed nicely with that set. So my friend David Hawkins, an Australian producer, said let's do something. And I was like, sure. I realized I've never done a full concert in London, which is odd because I'm there a lot and my mother's British and I thought, well, let's do a nice mix of things. Introduction to things that I do. Of course. Hedwig favorites songs from Short Bus from My own solo albums from my musical podcast series Anthem Homunculus that Glenn Close and Cynthia erivo and Patti LuPone star in. And also songs from my new David Bowie 70s concert, Queen Bitch, which has a lot to do with his fears of fascism, which have become quite real here in the US So it's. And I'll be using a great costume I use, used for a show called Origin of Love by Eric Bergren. That's six costumes in one that's very much inspired by Bauhaus Berlin design Oscar Schlemmer, to be specific, whom Bowie also was inspired by. So it's going to be great to come back to the country that taught me about rock and roll when I was a kid in boarding school in Scotland on Top of the Pops. Yeah.

[Interviewer]

I want to talk more about this terrific, exciting concert and the brilliant lineup of guest artists you're going to have joining you. But before we do, just to walk up to that a little bit, you've become such. I mean, just hearing you talk about all of these influences and all of the artistry being brought together here, you've become such a compellingly original artist and obviously beloved, a great queer theatrical icon because of the cult hit that was Hedwig that you know, started life not too far from where we are downtown here. A role that you've done off Broadway and on Broadway, but so recognizably yourself in your artistry. Is there anything that you would advise young performers, whether that's young queer performers or just young artists, in terms of uplifting that about themselves and sort of truly connecting to who they want to be as individuals in an industry that perhaps can try and shape people?

[John Cameron Mitchell]

Well, you know, it's capitalism. Capitalism tries to shape you. It tries to create genres, it creates niches so you can sell to them, which is also how I think of identity politics, to be honest, with good intentions. The need to sort of label yourself and identify yourself immediately before you even can legally drink in this country is too much pressure. I mean, we're evolving every day. And so I don't like to be told what I am. I don't like labels. You know, I grudgingly was like, I guess I'm non binary. I don't really care because I really believe each of us are identity of one, a gender of one. And of course there's queer communities and theater communities and such that we need. Community is important. But when we limit them to so called identity, which might have to do with gender or race or socioeconomic background, I think we sell Ourselves short, we separate ourselves to the point that someone can take advantage of our separation and our correcting our friends and cancellation and all those things that come from good sources, but end up becoming, at worst, an abuse of power, at best, a bunch of affinity groups that, as I mentioned in a recent New York Times op ed, we've separated ourselves. We've done Trump's work for him. And this is a long way of saying I refuse to fit into any category of I do not like to be pigeonholed. I find it limiting. I have always worked with and outside the system. Hedwig was very punk in the way it was made. We knew at the time we made it it would never be on Broadway or be up for an Oscar because of the, you know, queer phobia of the moment and even the punk phobia. But people grow up and people learn and things change. And then Hedwig was on Broadway about 10 years ago and it did very well. And eventually we'll be in London. A new production will come to London. We're working on that now. Because it's in many ways that the humor is very British. You know, my mom is British and taught me my sense of humor. My dad had a great sense of humor, too. But I have always chosen to make things outside the system, not just for any rebellious reason, but because I wasn't always seeing the things I liked in mainstream stuff. I was always working in mainstream. But I wanted to create things that were outside it in theater and film, in the way that bands might have stepped out of this us out of the system, to make their punk single or whatever. So to me, original comes naturally when you're freed up. Even if you're imitating someone you love, it's coming through your body and it's coming out in an original way. So all of my energy lately is encouraging people to make things outside the system with their friends, which is a local version of rebellion against national fascism and conformity and lack of creativity is like, we have to start with our friends in real life, not online. Let the phone get you to the real life. You can exchange stuff that way, but don't make that your main place of creation. It has to be IRL and DIY is very much my style. My new play is about a French surrealist who, with her partner, lived on the Isle of Jersey during the Nazi occupation and used their art to fight the occupation. And that's a very obviously timely thing right now in the US I'm also working on my memoirs to talk about the Things that you're asking about. It's like, how do you remain creative in a different, not welcoming world for creative people?

[Interviewer]

You mentioned feeling evasive around the idea of labels. Does the title of community leader resonate with you, or is that something that doesn't feel like it necessarily fits?

[John Cameron Mitchell]

I'm not. I'm a leader in my projects, and my dad was a general in the army, and his way of working, which is very much admitting when you don't know something and asking people to figure it out for you if you can't. Collaborative work. That's how I developed Short Bus, through improvisation. You know, we cast actors before we had a story and tailored it for them. So I, like. I really believe that finding your uniqueness, which, of course, someone like Hedwig is negotiating the fact that their identities are forced upon them by their boyfriend and mother and government, which is this femme boy who was fine about their gender, was suddenly kind of forced into a gender reassignment to be, quote, unquote, free from communist east gender Germany. And then, of course, is abandoned and in a trailer park in Kansas and has to, through drag and rock and roll, reinvent themselves to get out of this hole. Which is funny, because some people have identified Hedwig as a trans character. The character never says that. I certainly don't. Because it's not about discovering yourself on your own with agency and volition. It's about. About trauma and mutilation visited upon you by, in effect, the patriarchy telling you what a man and a woman is. And a woman is a man without a penis, according to them. So what do you do with that, that patriarchal wound in a way which most of us have traces of. And in Hedwig's extreme case, she creates herself as a kind of armored, you know, armored pundit full of rage and victimhood who ultimately lets go of that at the end. If we remain victims and everyone seems to identify as themselves as victims, billionaires and all, we remain victims, and we will never be at peace. Yes, there's trauma. Yes, there's hurt. How do we transcend it? If we don't transcend it, then the person who hurt us has won.

[Interviewer]

Obviously, when Hedwig first came to the stage, it was this countercultural idea. And then it has, through its cult popularity, subsequently come to Broadway and achieved great mainstream success. You got a Tony Award as part of that as well. Many fantastic, very recognizable actors have played the role, gone on to great success. Darren Criss just won a Tony Award this weekend. A lot of the actors who played Hedwig during that latest Broadway run are actually all coming back to Broadway around the same time this year. And yet in terms of how drag is being perceived and how sort of queer identities and identities transcending the gender binary are being perceived in the country right now, on the one hand, drag has never been more mainstream in the way that, like, it's been commercialized. And with the RuPaul's Drag Race and all of these many well known household name drag entertainers at the same time, the drag is also under attack and queer identities are under attack in legislation in the US and then also we're experiencing parts of that in the UK as well. So it's almost like, hey, Hedwig could go back to being very necessary in that way and sort of, again, countercultural, really. Especially if you're talking about new productions on the horizon.

[John Cameron Mitchell]

Yes. Was there a question?

[Interviewer]

No, no, no. I was just a thought that I wanted to share.

[John Cameron Mitchell]

Yeah, I think it is true. You know, Hedwig always remains an outsider, and in some ways, we're all outsiders to each other. Heavy doesn't particularly have their community the way others might seek community. I don't. To me, I prefer communities based on making things as opposed to, say, things we have nothing in common or nothing that we can control, like race or gender, biological sex, you know, these are all things that we, you know, gender, obviously there's a. A seeking, but with other things, I don't particularly like identities based on things you can't change. So.

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[John Cameron Mitchell]

Hi there.

[Interviewer]

Did you find everything okay?

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[John Cameron Mitchell]

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[John Cameron Mitchell]

There is a sense of Hedwig throughout the piece. Who's very much the loner finding their community with her audience. You know, the audience in the song Midnight Radio kind of becomes her community. And that audience has always been very varied in terms of background, gender, race, whatever, age. And she remains a bit of a, you know, a flag that some people with their tattoos and other things have identified as their. Their freedom, you know, seeking their other half, not always in another person, but in themselves, in their work. Other people can feel they are complete with their religion or their spiritual tradition. Great, as long as it's a healthy one. But I love the fact that Hedwig will remain, you know, the freaks, you know, Avatar and. But a broad one. You know, again, it's not just queer people or even, you know, gender non conforming. It's all kinds of people who'd feel like they haven't fit in. And that can be your straight mom, it can be your, you know, your closeted priest. It could be anyone. And I love that, you know, I love that it's passed around by friends. It was never a big financial success as a film or off Broadway. Broadway did well. But it was just, it's not a moneymaker which has kept it pure because I truly believe too much money corrupts as much as too little.

[Interviewer]

Yeah, I have a monthly cabaret show and I had the wonderful Mason Alexander park as a guest earlier this year who chatted about doing Hedwig at the Kennedy center, obviously back before all of the chaos and politicization that it's currently embroiled in. And how at the time, the inauguration, Trump's inauguration was invoked as sort of the bigger concert that was happening because Hedwig always has to be alongside a bigger venue for Tommy Gnosis playing nearby. And that became a tool of sort of acknowledging that happening there. And now the Kennedy center is obviously in such a different place. What does it mean for you to have this show that can sort of represent a light in that political darkness and to be able to offer that to audiences?

[John Cameron Mitchell]

It's great. I mean, it's similar to your last question. I'm very happy that people use people can't seem to abuse Hedwig because of her specificity. We're never going to be repurposed as some right wing symbol. So I'm very happy for other people to interpret it the way they want to, to direct it the way they want to, you know, to add things to the script that's built into the script. They should make it their own without losing the core stuff. And yeah, again, it's like make everyone is Hedwig. You know, make of it as you what you will. All genders, all races, all ages can play Hedwig. It is drag. It's a character. And the people who have played it for find, find that it has. It changed their, changes their life massively. You know, it's often the hardest role physically and mentally that singing wise that anyone will ever do. You know, it's as Meryl Streep called it, Hamlet on heels. I'm not comparing myself to Shakespeare, but it's one of those roles that like Hamlet that you want to essay, you want to see God, can I, you know, this is one of those roles that might teach me about myself, you know, and so I don't think it should be begrudge to anyone, everyone, anyone can play Hedwig for you to still.

[Interviewer]

Be singing these songs which are thrilling and haunting and rich and informative. Are there any of them that your relationship to them has changed over the years and they sort of continue to reward you in a different way?

[John Cameron Mitchell]

Yeah, I mean, I really enjoy very much enjoy still singing these songs by Stephen Trask. And they change meaning. You know, I think midnight radio is the one that's most flexible in that it includes, includes so many people. You know, it sort of refers to listening to the radio in East Germany and American radio in Hansel's oven where he listens and dreams of what's beyond the wall and what's beyond his small life. And in it we, you know, we tribute Patti Smith and could be Patti LaBelle. We just say Patti. Patti LaBelle, who I just saw Aretha Franklin, Nico Yoko.

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[John Cameron Mitchell]

Tina Turner, you know, these are all people that inspired Hedvig and inspire rockers, everyone, specifically the female rockers. I would have thrown in Chrissy Hines, Stevie Nicks, you know, there's Polystyrene in the uk, you know, the Slits. Now these are all bands and artists that have been double rebels. Not only are they punk rockers, in many ways, they had to contend with the male dominated music world. So there's, you know, they're double rebels. And if you're a queer person specifically, you know, really pushing the gender envelope, that's in some ways you're a triple rebel. You know, people like Gene county and Anoni and Sylvester and, you know, there's so many wonderful. The one advantage of the widening of culture in the last few years is that you get a lot more interesting artists that may have not had a chance before. Yeah.

[Interviewer]

And you're joined by many brilliant and interesting artists at your upcoming concert in London. A few Hedwig alumni in there. Not only Mason Alexander park, but also Davina de Campo, who played the role a couple years ago in the UK in a terrific production. Really, really lovely one. I did, I did. And she was wonderful. I mean, have you had the chance to meet her before?

[John Cameron Mitchell]

I saw a video and I thought she was great.

[Interviewer]

She's hysterical and sensational and just lovely person. Brilliant talent. And also Michael Cerveris, who was London's first Hedwig.

[John Cameron Mitchell]

Yes, Michael. Tony Winning. Michael Cerverus, who was the second person to play Hedwig in the us, was the first in the uk. It was a Not a well produced production. Investor pulled out at the last minute, so it didn't find its traction. We've done it at Edinburgh. There's been other local productions in the UK for sure. I think Davina is spectacular. Jamie Fletcher did a great job directing that and I think this concert will be kind of a introduction for some to Hedvig to me. But we also have other guests. You know, Boy George is going to join me on a Bowie song. There's another giant pop star the UK who's coming, but whose management will not allow his name to be mentioned because he's not getting paid, he's just doing. He's. We're doing a duet and I guess, you know, like Korea, sometimes your manager is more important than you because this person didn't really care. And then there'll also be Nakane, who is spelled N A K H A N E. I don't know if you've heard of him. You have? Oh, yeah. Well, he is a pop star out of South Africa. He played my boyfriend in my musical podcast series, Anthem Homunculus. Brilliant performer, writer, singer. We'll be. We'll be doing a duet from Anthem. We've also got Charlotte Hatherly of the band Ash playing with us. My music director, Justin Craig, who's also doing Stereophonic on the West End. Direct or music directing. Shannon Conley, who was on the tour with Mason Alexander park and understudy for Yitzhak, will be backing me up and doing some solo songs. And there'll be some other, you know, special. Martin Tomlinson, who in the 2000s had a band that was a very satirical kind of anti capitalist band called Selfish. Who Danny Fields, my buddy who managed the Ramones and Iggy Pop told me about and I hired him for my Croydon based punk film how to Talk to Girls at Parties to play the punk singer in that. So he'll join me on Angry Inch and then there might be a couple more stars coming in. One from France, we'll see another queer person who's rising now. We're hoping he can join us in the uk. So it's going to be Old Home Week and New Friends Week and I'm very much looking forward to it.

[Interviewer]

Thank you so much for taking the time to talk to me. It's been wonderful to meet you. For 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks watching have a Stagey Day. Subscribe.

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[John Cameron Mitchell]

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[Interviewer]

What is Daddication?

[John Cameron Mitchell]

The thing that drives me every day as a dad is Dariano.

[Interviewer]

We call him Day Date for short.

[John Cameron Mitchell]

Every day he's hungry for something, whether it's attention, affection, knowledge, and there's this huge responsibility in when he's no longer under my wing that he's a good person.

[Interviewer]

I want him to be able to.

[John Cameron Mitchell]

Sit back one day and go, we worked together. We did a good job.

[Interviewer]

That's dedication. Find out [e-mail] brought to you by the U.S. department of Health and Human Services and the Ad Council.