We recently connected with Sarah Norris and have shared our conversation below.
Hi Sarah, thanks for joining us today. I’m sure there have been days where the challenges of being an artist or creative force you to think about what it would be like to just have a regular job. When’s the last time you felt that way? Did you have any insights from the experience?
For the most part, I’m delighted to be an artist with the flexibility to collaborate with other creative minds and travel the world. New projects and people constantly challenge me and there isn’t a better feeling building to an opening night and sharing a new story with an enthusiastic audience.
The last few years, I’ve been busier than ever, so I feel guilty even admitting that I wonder about a regular job sometimes. Artistic work can be sporadic so who am I to complain about consistent opportunities? But the time away from home without my partner and dog gets lonely, and lately, I’ve been missing my “normal” life.
Maybe it’s figuring out a balance but it’s difficult turning down a gig when you don’t know when the next one will come around. And even though I’m working consistently in my profession and don’t rely on a supplemental job for income, I still don’t make enough money as a theater director to travel home on off days or fly my partner out during the middle of a stint away. So the only real solution to “distance” is turning down a job and that’s not always financially viable.
It’s not the best solution but FaceTime and Zoom have become options. We’ve even resorted to virtual “date nights” by watching Netflix at the same time. If I’m working on the West Coast, the time difference provides another challenge, but I think making an effort to connect is important.
Luckily, I have an incredibly supportive partner who encourages my artistic endeavors and is my biggest cheerleader and fan. The dog, not so much.
Sarah, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
My name is Sarah Norris and I’m a theater director and producer based in New York. I’ve had the privilege of creating theater all over the world including Scotland, Australia, England, Ireland, New York City, Los Angeles, Chicago, Washington DC, San Francisco, Las Vegas, Minneapolis, and Houston.
Originally from Huntsville, AL, I graduated with a dream to pursue theater in the best place on earth: NYC. As a young professional, I started an internship at Playwrights Horizons where I fell in love with working on new plays. It was during this time that I served as the production assistant for Doug Wright’s I AM MY OWN WIFE which transferred to Broadway, subsequently winning a Tony Award and the Pulitzer Prize.
In the spring of 2013, I became the Founding Artistic Director of New Light Theater Project, an Off-Broadway company dedicated to an ensemble of artists. With my producing (and life) partner, Mike Aguirre, we’ve mounted over 40 world premieres. Highlights include two Drama Desk nominations for Michael Aguirre’s THE GREATEST HITS DOWN ROUTE 66 and Arlene Hutton’s ACCORDING TO THE CHORUS, Ray Yamanouchi’s THE AMERICAN TRADITION (TimeOut NY Critics Pick; Best of Theater – Slant Magazine); Michelle Kholos Brooks’ H*ITLER’S TASTERS (6 Scenie Awards-StageSceneLA, including Outstanding Direction of a Comedy-Drama; TimeOut NY Critics’ Pick, Best of the Edinburgh Fringe); Ross Howard’s PICTURE OURSELVES IN LATVIA (Best of Theater, The L Magazine). New Light is a Co-op Resident Company of the renowned 59E59 Theaters.
Currently, I’m collaborating with the Library of Congress for a project to be presented in Washington D.C. on September 26. Michelle Kholos Brooks’ WAR WORDS is a play that creates a bridge between veterans and the great majority of us who thank them for their service without truly understanding what that means.
In the summer of 2021, I became the Artistic Producer of Pendragon Theatre, a professional theater nestled in the Adirondack Mountains of Saranac Lake, NY. Other career highlights include being on the Artistic Advisory Board of The Artist Co-Op, working with the Theatre Communications Group (TCG), serving on the Program Evaluation Working Group for NNPN (National New Play Network), and spending a year as the Interim Artistic Director for NewYorkRep, where I was deeply honored to be named a 2023 “Women Who Have Impacted Theatre” Recipient.
How can we best help foster a strong, supportive environment for artists and creatives?
This is going to sound so capitalistic and unsexy but BUY TICKETS to plays and musicals. Theaters are struggling to survive and for the most part, I think non-profit organizations want to pay their artists more. But a lot of audience members (including artists) expect a complimentary ticket for a show. Artists put in so much work in creating a production that it is a bit insulting that this effort isn’t valued. No one would walk into a restaurant and expect/demand a free appetizer.
And listen, I know we aren’t making a lot of money as theatrical artists. But the same people who ask for a free ticket tend to hang out after the show, purchasing drinks at the bar with their friends. Artists need to be the ones advocating for other artists and that starts with valuing the work. We need to generate money back into the organizations that are supporting us and hopefully, our friends.
Let’s talk about resilience next – do you have a story you can share with us?
I assume, like any profession, it is hard being a female in a leadership position. Certain behaviors have changed post #MeToo but there is still a different kind of respect (or lack of) for female directors.
My very first directing experience, I remember it so clearly, I was hired to direct Disney’s Beauty & the Beast and the older actor playing Maurice (Belle’s father) pulled me aside on the first day of rehearsal and said (and I quote): “I’ve only ever worked with 3 female directors in my time, and I didn’t like any of them.” Then stared at me until I said “I’m sorry about your past experiences — I hope you find this one more inspiring.” I can’t believe I apologized and this actor continued to be dismissive and rude the entire process and I didn’t have the confidence to approach the producer about it.
Fast forward to 2024, where I just had coffee with a friend — a young, brilliant director just starting her journey — and she lamented how one of the male actors announced in the middle of scene work “If I was directing this play, it would be very different.” Not quite as blatant as Maurice’s, but the passive-aggressive intention is crystal clear. And she asked me, “Is it because I’m a woman?” And it was soul crushing to respond with “of course.”
I wish I could say it gets better with age and experience. I suppose it does, or maybe it just gets easier to not let the disrespect feel so personal. It’s frustrating how people feel comfortable giving women feedback and notes on their approach and demeanor when they are in leadership positions. It still makes me angry and funneling that emotion into my work pushes me to continue the fight. What does get better with age is that you start finding the people who are not only talented, but you adore collaborating with, and if you are in a leadership position, you can hire and work with the artists of your choosing.
Contact Info:
- Website: https://SarahNorris.org
- Instagram: sarahnorris002
- Facebook: Sarah Norris
- Twitter: sarahnorris002
