Deborah Hedwall has been acting, teaching and directing in New York and Los Angeles for over 25 years.  She received her professional acting training  with  Sanford Meisner and Uta Hagen.  Deborah has created many roles in new plays On and Off Broadway, including the original production of Sight Unseen at Manhattan Theater Club for which she received an OBIE award and a Drama Desk Nomination for Outstanding Performance. Other NY productions include Savage in Limbo at New York Stage and Film, Extremities at the Westside Arts Theater, and  Horton Foote’s Blind Date at Ensemble Studio Theater.  Most recently Deborah was seen Off-Broadway in The Fall To Earth, directed by Joe Brancato at 59 East 59. Regionally she has worked at The Actor’s Theater of Louisville, The Eugene O’Neill Theater Conference, The Arena Stage, The New Play Festival at Sundance, The Long Wharf Theater, Yale Repertory, and Baltimore Center Stage where she appeared in Who’s Afraid of Virginia Woolf directed by Ethan McSweeny.  Since then she has worked at the Bay Street Theater in Sag Harbor in Men's Lives (directed by Harris Yulin), at Barrington Stage in Breaking the Code (directed by Joe Calarco), and at Hartford Stage in Christopher Shinn's new play An Opening in Time (directed by Oliver Butler) . 

Film and Television credits include Netflix's Jessica Jones, Homeland, HBO's Barry Levinson's You Don't Know Jack with Al Pacino, The West Wing, Law & OrderThe Big C, Delocated,  and Vera Farmiga's Higher Ground.  For two seasons Deborah played the mother in the Emmy Award winning series I’ll Fly Away with Regina Taylor. Currently she plays Ina Muldoon on the new Edward Burns series Public Morals

Hedwall has maintained an acting studio in New York for over 25 years.


“Ms. Hedwall is simply thrilling...In a play in which everyone has made bad bargains with life and art, she is asked to embody the pure direct human connection, the unclouded vision...this Ms. Hedwall achieves with a nakedness of spirit so incandescent that she adds a ray of hope to the otherwise angry brush strokes that dominate the canvas of “SIGHT UNSEEN”
— Frank Rich, The New York Times