After her recent Broadway debut directing HOW TO DANCE IN OHIO, Sammi Cannold EDM ’16 has solidified her position as a transformative force in the performing arts. With an impressive resume spanning theater, film, and television, she is reshaping the industry one innovative production at a time. From her early days at Stanford and Harvard to her recent work both on Broadway and off, she has pursued a clear artistic mission: to tell powerful stories that resonate with today’s audiences.

Reflecting on her journey, Sammi explains that her time at Harvard Graduate School of Education (HGSE) played a pivotal role in her early career. “I came to HGSE for two very specific reasons,” Sammi recalls. “One that I really was very passionate about arts education and wanted to figure out if there were ways to integrate that into being a theater practitioner. And also, I really wanted to engage with the American Repertory Theater.” The American Repertory Theater, or ART, is a theater on Harvard’s campus known for its award-winning and innovative work.

Her time at ART was more than a stepping stone, it was a “life-changing” experience for Sammi.  While there, Sammi worked closely with the professionals at the ART and had the opportunity to contribute to NATASHA, PIERRE & THE GREAT COMET OF 1812. The following year, when the show transferred to Broadway, she joined the production as an assistant director and eventually became an associate director. 

Sammi recently made her Broadway directorial debut with HOW TO DANCE IN OHIO, a groundbreaking production based on a documentary of the same name. The documentary and musical focus on a group of autistic young adults preparing for their first spring formal, and the show made history for being the first Broadway musical to cast autistic actors. 

“That show was built in a very unique and exciting way,” Sammi recalls. “Working with the cast heavily influenced the creation of it… It was very exciting to be part of trying something for the first time on Broadway. I'm so grateful for the partnerships that we had on the show, for so many people who said yes to things that haven't been done in Broadway houses or haven't been done in Broadway rehearsal rooms before. I hope that there will be an impact that lasts—other shows utilizing some of the things that we were so lucky to get to create.”

However, with all of this excitement came the challenges of working on such a large scale as Broadway. “It’s a magnified version of working anywhere else… There's more pressure.” Sammi explains. “There are more eyeballs. You have to make it more sustainable so that it can run eight times a week for an indefinite period of time… Everything that you do on Broadway costs more than anything you make anywhere else… Every decision you make has higher stakes.” 

Despite those pressures, Sammi was honored to bring such an important production to the Great White Way. “It's a huge privilege to get to work on Broadway,” she smiles. “It's been my dream since I knew what Broadway was. It was so special to bring this story to [life], because for me, it was about it being equal parts a piece of art and a piece of advocacy. And I can think of no greater place from a theatrical perspective to get to advocate than on a Broadway stage.”

Expanding her artistry, Sammi has recently ventured into directing film and television. She’s found that at its core, the principles of directing remain the same across mediums, but the mechanics differ greatly. “The building blocks of how you tell a story, how you engender empathy, how you create character are very similar, if not exactly the same,” Sammi says. “When I began that transition, I spent a long time learning… I didn't want to be the least knowledgeable person on the set. I really wanted to know what I was doing.” Sammi used her free time during the pandemic to read every book and listen to every podcast she could, and now she’s comfortable and confident on any kind of set. Use your resources, folx!

This adaptability reflects Sammi’s courage and willingness to try new things, which has also been evident in her directorial approach to classic works like EVITA and CARMEN. Each of those productions subsequently earned critical acclaim. Sammi notes that for her, “the reason to bring back something that is classic is if you have something that you want to highlight in it, or something to a dimension that you want to focus on.” Rather than remaking the same production, it’s important to offer something unique for the audience to enjoy. 

For example, in Sammi’s version of EVITA at D.C.’s Harman Hall, her focus was on amplifying both Argentinian culture and the perspective of Eva Perón as a fifteen-year-old girl when the story begins. The team included many women and Latine artists, and their goal was to build on Hal Prince’s iconic production by bringing something new to the table. “What we wanted to do was to say something specific to our time period, and to who we were as creators about this piece,” Sammi says. “What's the specific reason to tell this story now, and why am I the right person to do it? And what are we going to say? Otherwise, we might as well do the original.” That production was lauded by critics and earned rave reviews. 

For those looking to break into theater and directing in particular, Sammi has a few pieces of advice. First, “any foot in the door is a good foot in the door,” she smiles. “I think a lot of people say, ‘I want to be this specific thing. I want to be a director, I want to be an actor, so I'm only going to pursue jobs or opportunities in that realm.’ The reality is that if you get in a room, making a move towards what you want to do from there is much easier.” 

Sammi continues: “Have a website or some online presence where people can get to know you and your work. So many jobs in our industry are filled by people sending each other links to other people's websites. And the more that someone has the tools to advocate for you and your artistry—and [the more they] can see your artistry online, for better or worse—the better.” And Sammi’s final piece of advice? “It takes constant hustle. And you have to learn to love the hustle. It's part of the job… Learn to love the hustle of it early,” Sammi laughs. 

From Broadway stages to unconventional venues, Sammi’s work inspires audiences and artists alike, proving that theater’s magic lies in both its creativity and its courage to evolve.