In a sense, Sarah Ashley Cain has been preparing for her new position as director of artistic producing at Baltimore Center Stage all her life.
Cain — who grew up in Virginia and recently completed a master of fine arts degree in theater management at the David Geffen School of Drama at Yale University — fell in love with the theater at age 7 while attending musical theater summer camp. She says that experience “led to a love affair with theater that I’ve never shaken.”
Cain recently spoke with Jmore about her new position and new hometown.
What does your new position entail?
As the director of artistic producing, I am responsible for a wide array of the operational and creative sides of theater-making at Baltimore Center Stage to implement the theater’s artistic vision. This can include everything from contracting, artist care and working with the different labor unions to sitting in on rehearsals, giving notes, casting, scouting artists and plays, and supporting season planning.
How will the position be different or similar to your previous jobs?
Most recently, I’ve been in graduate school at the Yale School of Drama. While there, I was artistic director of the Yale Cabaret for its 54th season. There are many things that are similar between running a small black box theater and my new position—you have to be a jack-of-all-trades, have a deep understanding of the many facets of theater-making, have an interest in many forms and styles of theater, and be a support system for the artists you work with.
Producing is my passion and has been the focus of my work in theater for about seven years. I’m looking forward to producing theater at the size and scale of Baltimore Center Stage. And not having homework anymore!
What attracted you to Center Stage? To Baltimore?
I’ve had fond memories of Baltimore since I was a kid living in Virginia and visited the city with my family for special occasions. I grew up about an hour-and-a-half away and always had a special interest in the city, even as an adult.
Baltimore Center Stage is making the type of theater I’m most interested in — engaged, relevant, boundary-pushing, and civically minded. I wanted to work at a place that centered both its art and processes in its stated values. In particular, the opportunity to work with Artistic Director Stephanie Ybarra, the staff and the many talented artists that come through BCS’s doors is what drew me in.
What are your impressions of the city so far?
I just relocated in mid-July, so I’ve not had too much time to settle in quite yet. But so far, I’m loving living in Hampden and exploring all the great food, street art and live performances around the city. Each neighborhood has its own unique personality. I can’t wait to put some roots down, get involved in the community more and find the good hiking trails nearby.
What are your goals for Center Stage?
I’m hopeful Baltimore Center Stage can be a leader in the theater field, both in the work it’s producing and how that work is being produced. We use the phrase ‘people over stuff’ quite a bit at BCS, and what that comes down to is a very people-centered approach.
I want to continue to build on our artistic producing structure that puts artists first and creates a supportive environment for them to take creative risks, experiment and grow their art with us. As basic as it may sound, I want to make really great theater.
What are your goals for the theater scene and the arts and culture scene in Baltimore?
There is so much exciting and interesting artmaking going on in Baltimore. I recently attended a performance of ‘Hell Hounds on My Trail,’ an Afro-futurist opera by Jonathan Gilmore and Funktopia Nation at The Voxel. It blew me away! There are artists in every corner of the city creating unique, cool and beautiful work. My goal is that Baltimore becomes more recognized nationally for level of cutting-edge, talented artists in the area contributing to the arts and culture scene here and beyond.
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