Press


Selected interviews and features…


CHANCE MAGAZINE
(a new printed magazine about theater, design and aesthetics)
2013: Video feature which previews our in-print 26-page spread about Lydian Junction’s  durational performance, Satan in Drag

THEATRE COMMUNICATIONS GROUP (TCG)
2010: In the Trenches video interview

THE NEW YORK TIMES
2012:  In-print feature on Karen Allen talking about her role in Sunde’s production of A Summer Day
2010:  In-print feature on Sunde’s production of No Place Called Home
2005:  Web-media feature on Sunde’s production of The Asphalt Kiss

CULTUREBOT
2009:  Five Questions for Sarah Cameron Sunde

BROOKLYN RAIL
2008: In Conversation with Paul Willis about Sa Ka La

 

Some quotes about the work…

LYDIAN JUNCTION – 2013

“Sarah Cameron Sunde and Lydian Junction present their new work Satan in Drag in print for the first time in The Box. This intimate shoot of a work encapsulating male fear of the uncontained feminine—in a very contained rehearsal space at New Georges, an organization devoted to developing new work by women—displays a degree of invention, creativity and courage rarely seen in a traditional performance environment.”
– CHANCE Magazine

DREAM OF AUTUMN– 2013

A surreal journey: the former Park Schenley Restaurant in Oakland, transformed into a strange graveyard of lost furniture and exposed pipes…a haunting, exploratory space…Fosse’s ‘Dream of Autumn’ is a continuous game of questions without answers. He gives just enough to send you down a path; where it leads is up to you.”
Pittsburgh Post-Gazette

“Autumn has humor and even warmth to fight the coldness of Life.”
– City Paper

“Quantum’s version of the play is a new translation, masterfully put into English by Sarah Cameron Sunde of New York, who directed as well…The play is strange in its tone and rhythms, in the same vein that Godot is strange. But it is not merely Godot Junior, and neither, despite the laughs, is it a farce like Woody Allen’s Love and Death. Death isn’t funny. People die in this play. As, sooner or later, we all shall do. What’s funny—sometimes painfully funny, both in the play and for us—is how we live.
Entertainment Central Pittsburgh

A SUMMER DAY – 2012

a quietly brutal little work…this production sustains an icy discomfort. At the core of that unease isn’t, as you’d expect, the thought that this could happen to you; it’s the far grimmer notion that this is happening to you, right now and all the time…“A Summer Day” exerts a strong but stealthy undertow, a distinctive dramatic momentum unlike any other in New York theater these days.” 
– Ben Brantley, The New York Times

“Sarah Cameron Sunde, who translated the piece, also directs, with an interesting and vaguely European eye for the power of theatrical design.”
– The New Yorker

“the welcome return of Karen Allen to the New York stage is a treat not to be missed
– AP / Huffington Post

NO PLACE CALLED HOME – 2010

“Over the course of Ms. Schultz’s performance on Thursday, the Iraqi refugee population of New York City increased virtually by something like 10 percent, as she brought stories of urban refugee life into a spare rehearsal room.”
The New York Times

“A surprising love affair…”
Huffington Post

“…within just a few minutes of this one-woman show, written and performed by Kim Schultz- I was genuinely hooked.”
Diplomancyandpower.com

“Punctuating it all is some haunting percussive music by Amikaeyla Gaston. Under Sarah Cameron Sunde’s perceptive direction, Schultz gains our sympathies for a people who many people automatically suspect are our enemies. That alone is no small achievement.”
The Star Ledger

THE DIARY OF A TEENAGE GIRL – 2010

“Heartfelt…sterling technical contributions. Unblinking honesty, stings with truth
New York Times

“Heller and her collaborators provide an affecting portrait of an artist as a very young woman.”
Village Voice

A 360-degree sensorium…The great achievement of The Diary of a Teenage Girl, adapted from Phoebe Gloeckner’s graphic novel, is to take the girl’s point of view seriously. Neither sentimental nor judgmental…the production’s only agenda is to be true to her experience. We enter Minnie’s most private spaces not to learn from her mistakes but to find poetry in the journey.”
Backstage (Critic’s Pick)

“…the attention to detail in every element of the production—the absorption in this girl’s psyche and her environment—are uncanny. I experienced [it]…more like a happening than a traditional piece of theatre-which felt entirely the right way to experience this play.”
NYTheatre.com

“Immensely powerful, raw, not to be forgotten
Broadwayworld.com

“Well paced, well acted, this impressive production
Culturebot

“The Diary of a Teenage Girl: The Play is riveting theater, and as skillful a comics adaptation as I’ve come across. If you’re in New York and have any interest in the semi-autobiographical Phoebe Gloeckner graphic novel from which the play was adapted, or in an unusual and innovative theatrical experience, or simply in a movingly no-bullshit exploration of the lives of young people and the older people who shape them, I’m almost willing to buy you the tickets myself.”
Comic Book Resources

THE AMISH PROJECT – 2009

“Ms. Dickey, under Sarah Cameron Sunde’s direction, is completely convincing as she switches among the play’s seven characters. That is no easy feat, since those characters include both the gunman and two of his young victims.”
The New York Times

“Dickey does a terrific acting job under helmer Sarah Cameron Sunde”
Variety

The show artfully asks serious questions about our limited capacity for charity, an exercise that spares us from the piece’s unremitting sadness.”
Time Out New York

“The Amish Project is extremely well-executed…Sunde’s direction is beautifully detailed
nytheatre.com

“The Amish Project is finely directed by Sarah Cameron Sunde. They are so in tune with each other, she and Jessica. And the result is a well paced, sometimes eerie (as when the murderer peers inside the schoolhouse windows) sometimes heartbreaking and many times amusing and in the end a questioning about faith and belief and forgiveness.”
Talk Entertainment

“Crisply directed”
Backstage

Major kudos go to director Sarah Cameron Sunde for her firm but moderate hand in shaping the work.”
nyc onstage

SA KA LA – 2008

“one of the world’s greatest playwrights…catch stand-out performances
Flavorpill

“Playwright Jon Fosse offers a curious birthday present in Sa Ka La…Dr. Seuss meets Neo-Platonism
The Village Voice

“A production full of nuance and rhythm
Backstage

“Fosse’s writing is Pinter-ish in its economy and in its sense of place…only after the show is over, when there’s a chance to sit and ponder…do Fosse’s finer points eventually reveal themselves like flowers finally shoving out through cracked gray concrete.”
Variety

PICK OF THE WEEK! [a] compelling production of a play that has taken too long to find an American audience… It is as if Samuel Beckett, the playwright of absolute minimalism, had convinced Fosse’s fellow Norwegian, Henrik Ibsen, the master of realism, to agree to a collaboration.”
offoffonline

GOOD HEIF – 2007

“A finely executed New Georges production.”
The Village Voice

“The style of the production, under the imaginative directorial reins of Sarah Cameron Sunde, is broad, but with a serious undercurrent humorously expressed. Performances perfectly capture the script’s ideas. Far out!”
The Epoch Times

“Lad’s excitement is hilariously depicted…[a] funny and imaginative play”
New Theater Corps

“A quirky, darkly humorous show”
Culturebot.org

DEATHVARIATIONS – 2006

“It is easy to see [Fosse’s] work as Ibsen stripped down to its emotional essentials. But it is much more. For one thing, it has a fierce poetic simplicity…The cast of ‘deathvariations’ is sometimes stunningly in touch with Mr. Fosse’s worldview. And no small credit goes to Sarah Cameron Sunde who both translated and directed the play. The seemingly simple art of blocking doesn’t normally come in for critical praise, but there is one moment — when Ms. Sunde allows the past to cross in front of the present — that carries layers of meaning
The New York Times

“A taut, gripping exploration of – among other things – our frequent and tragic inability to recognize what’s right before us”
nytheatre.com

A riveting drama…Fosse’s brilliant, ritualistic language uses obsessive repetition to make [the characters’] fate seem inevitable…Sunde’s direction strengthens Fosse’s concepts with blocking that borders on choreography… neither a second too long nor too short”
NY Theatre Wire

THE ASPHALT KISS – 2005

“An intriguing sample of Rodrigues’s highly original voice…[the production] perfectly serves the surrealistic material
The New York Times

“Ms. Sunde does clearly have an eye for expressionist drama.”
The New York Sun

“Her staging is nearly flawless…”
offoffonline

Excellent production
The Gothamist

“Sarah Cameron Sunde’s production beautifully enhances the sense of this world’s eerie menace
Backstage

“Nelson Rodrigues’s play The Asphalt Kiss has a splashy beginning, a disturbing yet compelling middle, and a terrific surprise ending. Sarah Cameron Sunde has staged it with style and rigor
nytheatre.com

“Director Sarah Cameron Sunde has whipped her cast into the kind of intensity the playwright demands and they deliver”
The Danbury News-Times

“Sarah Cameron Sunde’s direction is solid
Gay City News

NIGHT SINGS ITS SONGS – 2004

“Mr. Fosse (pronounced FAH-suh), who is Norwegian, and Sarah Cameron Sunde, the American who translated his play, have an ear for conversation, particularly for the synergy of repetition and for the fine line between generality and allegory…. Ms. Sunde, who also directed, has made interesting choices for her cast of five, who are uniformly excellent.”
The New York Times

Absorbing…this couple merits stopping in.”
The Village Voice

“Under director Sarah Cameron Sunde, the actors do a masterful job…[Night Sings Its Songs] reaches us with the high beauty of its aesthetics and the tremendous complexity of the characters developed through thoughtful and intelligent acting and directing. It is a minimalist marvel to see, and will leave you thinking about the value and rarity of speaking directly and being heard.”
offoffonline (the pick of the week)