A Conversation with Director Sarah Norris on the Occasion of "H*tler's Tasters" at the Rogue Theatre, by James Scarborough

"H*tler’s Tasters", directed by Sarah Norris and written by Michelle Kholos Brooks, stages youth, power, and survival against a backdrop of dark comedy.  It occurs during the oppressive regime of the Third Reich. Set in the claustrophobic confines of Hitler's Wolf’s Lair, the play uses the historically based yet largely unknown story of young German women conscripted as Adolf Hitler’s food tasters. The story threads a delicate balance. It explores the absurdity of these young women's daily lives as it offers a poignant reflection on their dreams and aspirations. Contemporary young women face the same absurdity.

Norris' direction bridges the historical past and the present. This stylistic choice does two things. It makes the historical figures relatable.  And it critiques the unchanging nature of societal structures that perpetuate gender roles and power dynamics.

Pulling the audience into the characters’ predicament, the staging on the intimate Henry Murray Stage amplifies the story's tension. Norris challenges the audience to confront uncomfortable parallels between past atrocities and current societal dynamics. As a result, "Hitler’s Tasters" emerges not only as an historical commentary but as a mirror that reflects our contemporary societal failures and fears. This production stands as a compelling example of how historical reimaginings can resonate deeply with modern audiences. It urges them to reevaluate both history and its present-day implications.

JS: By adapting a historical figure like Margot Wölk, how did you maintain historical accuracy while injecting modern-day sensibilities into the production?

SN: I believe that my job of directing a new play is to create the best representation possible of what is on the page. Michelle Kholos Brooks has seamlessly blended both the past and present through this historical setting by using contemporary language and anachronisms. Her brilliant script made my job easy. This story isn’t a sepia-toned account of a little-known part of WWII history — it is a dark satire that explores the expendability of young women not only in 1940’s Germany, but in today’s society as well. Combining the historical references and the given circumstances with modern sensibilities and music was how we forged a deeper connection with audiences. 

I consumed hundreds of pages of nonfiction and fiction to prepare for this project so that I had as much knowledge as possible to support the artistic team with questions and ideas. This base of research was the starting-off point, and with my collaborators, we were able to weave the anachronisms into the storytelling. For example, colors and shapes from the 1940s inspired Ashleigh Poteat’s costume design, but the costumes were purchased (rather than built) so they have a contemporary feel. 

JS: How has your vision for this production evolved since its initial staging?

SN: It’s pretty amazing to have the opportunity to work on a play (with the playwright!) over the course of eight years. The world premiere production at Centenary Stage Company (New Jersey) let me experiment with how the play moves from scene to scene. It was a great opportunity to support Michelle as she fine-tuned the text and massaged the jokes with a talented cast. Ultimately, I learned two important things for the next production with New Light Theater Project (NYC): (1) I wanted to work with a choreographer to deepen and expand the physical storytelling, and (2) I wanted to collaborate with an all-female design team who could connect with the characters and story in a visceral way.

Ashlee Wasmund’s choreography enriches the subtext of the characters during the transitions while infusing the stage with the carefree spirit of girls who simply want to dance and sing with their friends. The talents of An-lin Dauber (scenic) and Christina Tang (lights) to create contrasting worlds between stark reality and colorful imagination elevates the production in a stunning way. And Carsen Joenk’s soundtrack and sound design is the heartbeat of the show.

I’d be remiss not to mention that it is one of the greatest honors of my professional career to have worked with the New Light team for six (!!!) years on H*tler’s Tasters. It is remarkable all the places we’ve traveled to, and each time we revisit this story, I learn something new. The life experiences of the actors infiltrated the characters in a beautiful way, and it is edifying to see how their performances evolved after living inside each of their characters for so many years, not to mention their deepened relationships, both onstage and off.  

Coming back to the play with a brand-new Rogue Machine cast was intimidating at first…I had to be mindful not to compare because I felt it vital that this current group of actors make their own choices. It was a little like starting over, but with this reset came an energizing set of ideas to explore and it was reinvigorating to think about the characters in a different way. Not to mention the intimate setting of the Henry Murray Stage is such an original way to present the play. The Rogue cast is extremely brave because they are literally surrounded — performing with the audience basically in their laps!

JS: Given the play's dark comedy, how did you balance humor with serious historical context?

SN: In a lot of ways, the serious historical context is the easier part. Most audience members are very sensitive to the triggering material and want to respect the trauma of the past. Creating a space to understand the humor and why it is important to the storytelling is a little more complicated and sometimes, audiences are unsure if they are allowed to laugh.

Humor is an incredibly effective tool to show the humanity of characters and by inviting an audience to laugh, the tragedy becomes even more apparent. Teenage girls are funny and vulnerable and complicated and overflowing with big emotions. The reason I love this play so much is because I can laugh with these girls one moment and then experience their suffering so deeply the next. 

So, to ensure that both comedy and tragedy exist in the play, it was important to work with the cast on the technical delivery of the one-liners while infusing their characters with their own girlish intuitions. The layering of wide-eyed innocence and giggles charms the audience and gives them permission to laugh. They, too, fall in love with the girls because they recognize them from their own lives, so when they are confronted with the serious ramifications of the time and place, the tragedy strikes hard.

JS: The play features contemporary references and anachronisms. How do these choices enhance the audience's understanding of or connection to the characters?

SN: The anachronisms are what hooked me when I first encountered the play because they make the story more relevant. More present. The expendability of young women — the way society exploits and then discards them by a demented male with power — is not an issue of the past. It remains very true today, and this theme is all the more potent because of the contemporary references. Cell phones are used at the top of the show, and hopefully, audiences immediately connect that the characters in front of them are not just girls from the past but girls trying to survive in the world today.

JS: How did your collaboration with Director Michelle Kholos Brooks influence the play's staging and direction?

SN: I adore Michelle. She is smart, funny, and so full of compassion. I feel lucky that she trusts me and is open to collaboration. She fully supported my idea to incorporate dance and contemporary music into the scene transitions which have become a signature part of this production. Her presence is always welcome because she offers great insight, and having the playwright in the room is such an advantage.

JS: How did you cast the actors playing the young women? How do these qualities reflect the themes of the play?

SN: I worked with a wonderful Casting Director, Victoria Hoffman, to cast this production. Casting started with a call for self-tapes and Victoria had a great idea to ask the actors to include a short video of them dancing. These videos became so important because there is a vulnerability in the characters that is reflected in how they dance as if no one is watching. Technique is irrelevant; the carefree spirit is what I’m most interested in. It was important to me that the actors exude innocence and youth, like the characters in the play, and the tragedy is when these qualities are stripped away, and they are confronted with the truth of their circumstances.

(The monologues used in auditions/callbacks were also extremely important, but I wanted to highlight what was special about this casting process.)

JS: How does the immersive setup of the Henry Murray Stage contribute to your storytelling?

SN: The intimacy of the Henry Murray Stage provides such a powerful experience for the audience. The concrete walls enclose them in the room with the cast — there is no sinking into a comfortable seat in the back of an auditorium and distancing themselves from the action. The audience becomes first hand witness to everything that befalls the girls because they are part of the space.

JS: Though it’s set during the Third Reich, how does the play speak to contemporary societal issues?

SN: The young women of H*tler’s Tasters are powerful reminders of what can happen when a modern society yields to complacency, failing to ignore decisions that affect only part of the population, because eventually, those decisions will affect all of us. In the U.S., the government is still trying to control a woman’s autonomy over their bodies. It feels like there is a new ruling every other week, with the subtext that young women are still expendable, controllable, and easily disregarded.

JS: Has directing "Hitler's Tasters" influenced your perspective on the role of art to address historical traumas?

SN: I keep telling Michelle that I look forward to the day her play is no longer relevant. Sadly, I don’t think that will be in my lifetime. But I wholeheartedly believe that sharing a story like H*tler’s Tasters is a first step into making change because it sparks conversation and hopefully, provides space for catharsis. 

JS: After completing such an intense project, what will you tackle next? How has this experience shaped your artistic trajectory?

SN: I am fortunate to have two more Michelle Kholos Brooks’ plays to look forward to! I will be directing a reading of her powerful play War Words, based on interviews from Iraq and Afghanistan veterans, at the Library of Congress in Washington D.C. this September, followed by the world premiere of Room 1214, her new docudrama that explores gun violence through the lens of a Holocaust teacher, running at 59E59 Theaters in NYC and produced by New Light Theater Project, in November/December.

I hope you’ll join us at Rogue Machine for H*tler’s Tasters!

TAKEAWAYS

Norris emphasizes the importance of integrating historical accuracy with contemporary elements to make the story resonate with modern audiences. The use of contemporary language, anachronisms, and modern sensibilities allows the play to forge a deeper connection with audiences by highlighting the enduring relevance of the themes explored, such as the expendability of young women.

Over the course of eight years, Norris' vision for the production evolved significantly. Key developments included working with a choreographer to enhance physical storytelling and collaborating with an all-female design team to create a more visceral connection to the characters. The continuous collaboration with playwright Michelle Kholos Brooks allowed for fine-tuning of the text and jokes, enriching the play's comedic and tragic elements.

Norris discusses the challenge of balancing dark comedy with serious historical content. Humor serves as a tool to humanize the characters and invite the audience to engage emotionally. By allowing the audience to laugh, the play enhances the impact of the tragic moments, creating a powerful contrast that deepens the audience's understanding of the characters' experiences and the historical context.

“H*tler’s Tasters” runs at 8pm Fridays and Mondays; 5pm Saturdays; 7pm Sundays through June 3, 2024. Rogue Machine, in the Matrix Theatre (upstairs on the Henry Murray Stage) located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45 (Students $25 / Seniors $35); Show4Less: May 17 & 24 ($20+). More information 855-585-5185. Reservations: https://www.roguemachinetheatre.org/

 

Performances are  8pm Fridays, Mondays; 5pm Saturdays; 7pm Sundays. The show closes on June 3. The production takes place upstairs on the Henry Murray Stage at the Rogue Machine (in the Matrix Theatre). The Theatre is located at 7657 Melrose Ave, Los Angeles, CA 90462. For more information, click here.