Photo by Christine Jean Chambers
What does your job entail?
Because I am still relatively new, every day is a little bit different, and we are in a major transition phase. Right now, it’s about getting the lay of the land, learning the current way of doing things – what is working, what isn’t working, and refining our processes in a way that works better for the entire theatre staff. My focus is on fostering an antiracist vision and creating space for equity and inclusion through theatre at the Fine Arts Center. We have a lot of hard, vital work ahead and I’m excited to lay this foundation for what we can co-create with our staff, our artists, and our community.
Where did you work before CC and what were you doing?
I came to the FAC from Geva Theatre Center in Rochester, NY, where I was the associate artistic Director and Director of Engagement. Being in those two roles at Geva helped shaped me as an artistic director. I found the delineation of the two positions a bit arbitrary and now, my way of working is much less compartmentalized. We cannot lead if we divorce ourselves from our community; the art and the community must go hand in hand with each other. And that work can’t be done by one person alone. It’s the collective responsibility of the entire organization to forge relationships and invest in them in the long-term so that a theatre can become a meaningful civic space for all.
Tell us a little about your background.
I am a proud child of Iranian immigrants; my parents came to the United States in the 1970s. I have enormous gratitude for my parents’ hard work and sacrifices so that I could have such incredible opportunities, especially when it came to my education. I started in theatre as a hobby after school and on the weekends. My parents wanted me to have a career in medicine, but then in college, I fell in love with the theatre, much to my father’s chagrin. However, my love of theatre came with tacit acceptance that I would never see myself on stage. It was painful, as it seemed like a life in the theatre required an erasure of my identity, and that I would have to “pass.” But this has reversed from when I was much younger. I now see my identity not as a flaw, but a feature, and one that is just as valid as any other. What matters most to me is to now open doors for others who have been systemically excluded so that they never doubt that their stories matter, and they can now love, and be loved, in the theatre.
What do you like to do when not working?
In ideal, COVID-free circumstances, I like to take walks, be in nature, play the piano, and garden. I love to cook and bake. I enjoy working out in the context of group classes, too. I also really like to take time off to do nothing but daydream. I am working on giving myself permission to just be and reflect. I’m looking forward to good weather so that I can start to explore and get to know Colorado Springs.
Wild card: When you were a kid, what did you want to be when you grew up?
I thought I would pursue a career in medicine, as my parents had hoped. I wanted to be a doctor – I loved being around other kids, so I figured becoming a pediatrician would be cool. I also thought about being an English teacher, and for a time I wanted to be the first woman to ever be on the Chicago Bulls, which was the biggest pipe dream of all, given my lack of athletic abilities. I became serious about theatre and acting particularly in college, then discovered directing, which completely stole my heart. It wasn’t until many years into my freelance career that I became interested in pursuing artistic leadership.
What do I want readers to know?
If a student is reading this, and your parents don’t support your chosen career path, give your parents space, and pursue what makes you happy. I think I spent too much time trying to convince my folks, and ultimately, they were only comforted when they truly saw that I was happy and thriving in what I do. Focus on that; direct your energy to your passions and your joy.
