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Selected Print Media
Una Chaudhuri, Stacy Alaimo, Martin Harries, Stefan Helmreich, Nils van Beek, Peggy Phelan, James E. Young, “Signaling Through the Waves,” pages 200-271, Resilience: A Journal of Environmental Humanities, spring-fall 2020
Siago Cece, “Standing in the Ocean to Fight for the Planet,” The East African, November 16, 2019
Nicole Miller, “Sarah Cameron Sunde’s Immersive Performances,” Hyperallergic, July 14, 2019
Shana Chanda, “The Dark Water She Adores,” JANE by Grey Attic, spring 2019 (Australia)
Tailane Muniz, “Em performance de 12 horas, ameriana aborda relação entre tempo e mar,” Correio, April 2
Tatiana Mendonça & Marcos Dias, “Um ato poético,” Muito Magazine, March 31, 2019 (Brazil)
Nicole Miller, “Works on Water,” The Brooklyn Rail, July 14, 2017
Allison Meier, “The Inaugural Triennial on New York’s Waterways Drops Anchor,” Hyperallergic, June 21, 2017
Xanne Visser, “13 uur in de zee staan als kunstactie,” NRC Handelsblad, August 11, 2015
Nils van Beek, “Tidal Endurance: Sarah Cameron Sunde brings 36.5 to the Netherlands” The Brooklyn Rail, July 13, 2015
Sam Whiting, “Artist Stands in Bay…” San Francisco Chronicle, August 16, 2014
Fitz Patton, “Satan in Drag” photo feature, CHANCE Magazine, Issue 2, pages 6-31, fall 2013
Sharon Eberson, “Dream of Autumn: a surreal journey,” Pittsburgh Post-Gazette, April 10, 2013
Ben Brantley, “Tides Come and Go, but She Won’t,” The New York Times, October 25, 2012
Allan Kozinn, “A Lifetime of Regret Born in a Moment,” The New York Times, October 21, 2012
Andy Webster, “Me and my Hormones, Raging in the 1970s,” The New York Times, April 1, 2010
Susan Dominus, “A Show about Iraqi Refugees…” The New York Times, October 1, 2010
Neil Genzlinger, “Death and Forgiveness at an Amish School” New York Times, June 13, 2009
Paul Willis, “As Few Words as Possible” The Brooklyn Rail, September 12, 2008
Anita Gates, “Young Suicide in the Eyes of Norwegian…“ The New York Times, August 21, 2006
Anita Gates, “A Man, a Woman, and a Baby, Locked…” The New York Times, June 17, 2004
Kristin Nilsen, “Fosse inntok New York,” Aftenposten, Norway, June 8, 2004

Selected Online Media
Shana Chanda, “The Ocean Spirit Inside: talking with Sarah Cameron Sunde,” Eye Contact, June 29 2020 (Aotearoa–NZ)

Roda Baiana Show, Metrópole Rádio, April 1, 2019
Nicole Miller, “Sarah Cameron Sunde’s Immersive Performances,” Hyperallergic, March 30, 2019
TL Andrews, “Sarah Cameron Sunde on Water as Canvas and Collaborator,” Berlin ArtLink, August 21, 2018
Craig Thompson, “Study with the Best: art through a CUNY Lens” CUNY TV, February, 2016
Anna Renken, “36.5 / A Durational Performance with the Sea” Public Art Forecast, August 10, 2015

Claire Voon, “Faced with a Rising Tide, Artist Lets it Wash Over Her” Hyperallergic, August 10, 2015
Danna Staaf, “Artist Will Take a 13-Hour Watery Stand” KQED Science (NPR), August 5, 2014
Marina Abramovic Institute, “36.5 / phases of the moon,” MAI media, December 24, 2013
Fitz Patton, “Satan in Drag” v-shot preview, CHANCE Magazine, November 25, 2013
Tara Bracco, “In the Trenches: S.C.Sunde” Theater Communications Group, September 17, 2010
Erik Piepenburg, “A ‘Kiss’ Designed,” from sketch to stage interactive feature, The New York Times, October 21, 2005

“The Work” and “Reflections,” Resilience: A Journal of Environmental Humanities, spring-fall 2020
“Environmental Art for the 21st Century,” Works on Water Triennial Catalogue, spring 2018 (print)
“36.5 / Public Art Dialogue,” Public Art Dialogue, spring 2016 (print)
“36.5 / A Durational Performance with the Sea,” PLOT: a journal of landscape architecture, spring 2016 (print)
“36.5 / A Durational Performance with the Sea,” Curated Series on Arts and Climate Change, Howlround, April 20, 2015
“Uganda at a Crossroads,” American Theater Magazine, May/June issue, 2014 (print)
“One Small Revolution,” blog to document research and process as I bring 36.5 to fruition, February, 2014
“A Deeper Live Experience,” NYC World Theater Day Blog, March 25, 2012
“SA KA LA,” (translation), part of “New Europe: Plays from the Continent,” PAJ Publications, 2008, pages 22-95 (print)
“SILENCE AND SPACE the new drama of Jon Fosse,” PAJ – A Journal of Performance and Art, Issue 87, 2007, p 57-60 (print)
“DEATHVARIATIONS,” (translation), PAJ – A Journal of Performance and Art, Issue 87, 2007 (print)
“NIGHT SINGS ITS SONGS,” (excerpt of translation), Words Without Borders, March 2006


AUTHORED TRANSLATIONS (Norwegian to American English)
2015        HERBS, THE STOVE, THE CUP by Fredrik Brattberg, commissioned by the Writers Guild of Norway
2014        WINTERREISE by Fredrik Brattberg, commissioned by the Writers Guild of Norway
2013        SLEEP by Jon Fosse, commissioned by Oslo Elsewhere for SATC presentation
2012        IBSEN AND VIGELAND by Tone Wikborg, commissioned by playwright Doug Wright
2012        DREAM OF AUTUMN by Jon Fosse, commissioned by Quantum Theater
2011        PILLARS OF SOCIETY by Henrik Ibsen with Ron Russell, Epic Theater Ensemble
2011        A SUMMER DAY by Jon Fosse, commissioned by Oslo Elsewhere for Rattlestick production
2010        REALITY by Gyrid Axe Øvsteng, commissioned by Aquavit Theater
2008        SA KA LA by Jon Fosse (published by PAJ), commissioned by Oslo Elsewhere
2006        THE WILD DUCK by Henrik Ibsen with Blair Brown (translation/adaptation)
2006        DEATHVARIATIONS by Jon Fosse (published by PAJ), commissioned by Oslo Elsewhere
2006        DUEL: SONS OF LIBERTY 2, commissioned by Sons of Liberty
2005        RED, SNOW AND THE WOLF by Lisa CB Lie, commissioned by Det Åpne Theater
2004        NIGHT SINGS ITS SONGS by Jon Fosse

2016 – 2017            Collaborating with Mary Miss on her DDC Project, City as Living Laboratory, New York, NY, US
2015 – present       Member, College Art Association (CAA), New York, NY
2013 – present       Member, The Fence (an international consortium of writers and translators), London, UK
2009 – present       Member, Stage Directors and Choreographers Union, New York, NY, US
2004 – present       Core Member, Theatre Without Borders (Translation Think Tank, Climate Lens)

2006 –present        Funding Panelist for The Mellon Foundation, Jerome Foundation/Playwright’s Center, reader for others

2020        Lead Panel, Human Impacts Institute, Dec 9
Artist Talk & Panel, Climate Sensing, Penn Program in Environmental Humanities, April 19-21
Artist Talk, Auckland University of Technology
Arts & Climate Change, APAP, Jan 15

2019        Artist Talk, University of Nairobi
Artist Talk & Panel, Environmental Storytelling & Virtual Reality, Penn Program in Environmental Humanities, Nov 22
Lightning Talk, SDG Action Zone during the General Assembly, United Nations Rose Garden, Sept 27
Artist Talk, The Art of Science and the Science of Art Symposium, NYC multiple venues, Sept 26
Artist Lecture & Workshop with PhD Performance Studies Graduates, Universidade Federal, Bahía, Brazil, Mar 22, 25

2018        Bangladesh Environmental Network, Guest Speaker at 20th Anniversary Event, June 30.
Panel Discussions as Guest Artist with Fence Network at D-CAF festival in Cairo, Egypt, March 21-26.

2017        Visiting Artist – NYU Abu Dhabi, United Arab Emirates, September 24 – November 18.
Series of Conversations as Artist/Co-Curator of Works on Water, New York, NY, June 4-30.
Artists + DDC, a conversation with Mary Miss, Department of Design & Construction, Queens, NY, May 9.
Artist Talk, Theertha /Red Dot Gallery, Colombo, Sri Lanka, January 20.
Artist Talk and screening, Britto Arts Trust, Dhaka, Bangladesh, January 12.

2016        Virtual presentation at Performance Studies International (PSi) conference in Melbourne, Australia, July 6-9.
Panel with leading Dutch Climate Scientist, Pier Vellinga, Oerolcollege, The Netherlands, June 14.

2015        Artist Introduction to film screening, “Connecting Badlands to Climate Change,” The Rubin Museum, October 9.
Artist Talk and Panel Discussion, “Performing Climate Change,” NYU, September 21.
Symposium Presentation and Artist Talk, Oerol, The Netherlands, June 10.
Artist Talk and Panel Discussion, “De Stad van Morgen (The City of Tomorrow),” Over Het IJ, Amsterdam, June 8.

2014        Artist Talk and Directing Sessions, Jon Fosse Festival, Shanghai, November 29 – Dec 2.
Artist Talk, Akumal International Artist Residency, Akumal, Mexico, February 9.

2013        Artist Talk, Kendu Hearth International Conference, Kampala, Uganda, August 31.
Lecture/Workshop, Carnegie Mellon University, Pittsburgh, PA, US, March 18.

2012        Artist Talk, ArtRole Women in Action International Conference, Erbil, Iraqi Kurdistan, November 8.

2009        Lecture/Workshop, Guthrie Theater / University of Minneapolis BFA Program, Minneapolis, MN, US, March 19.

2004-08  Frequent Guest Lecturer/Panelist on Art of Translation at TCG National Conference, The Playwright’s Center, CUNY’s Graduate Center, et al.

Selected press interviews and features (2000-2013):

(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

2010: In the Trenches video interview

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

2009:  Five Questions for Sarah Cameron Sunde

2008: In Conversation with Paul Willis about Sa Ka La


Some quotes about the work…


“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


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 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


“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.”

“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


“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.”

“Immensely powerful, raw, not to be forgotten

“Well paced, well acted, this impressive production

“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


“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”

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

“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”

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

“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

“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.”

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.”

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”


“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”

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


“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…”

Excellent production
The Gothamist

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

“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

“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


“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)